year

To say that DeAndre Cole inherited a difficult challenge when he became the boys’ basketball coach at Compton Centennial this season would be an understatement. The team went 1-23 last season and had a streak of seven consecutive losing seasons since finishing 13-13 in 2017-2018.

“The expectation was to bring the winning culture, to bring some excitement,” the 44-year-old Cole said.

Incredibly, Centennial has already finished its regular season with a 12-12 record and represents one of the biggest turnaround stories in Southern California. The .500 record means Centennial is eligible for a Southern Section at-large playoff berth.

This is a program where UCLA assistant coach Rod Palmer once had teams competing against the best when alumnus Arron Affalo was bombing in threes and delivering dunks before going on to UCLA and the NBA. Centennial won the 2004 state Division III championship. This year’s team went 1-6 in the Ocean League, where Inglewood and high-scoring Jason Crowe Jr. won the league title.

Cole once served as an assistant coach at Washington Prep and Manual Arts. He was set to be head coach at Morningside until the school closed last year.

He’s a Crenshaw grad who says he was kicked off the basketball team by legendary coach Willie West. Asked what he learned, Cole said, “It takes hard work and being dedicated buying into the program and no player is bigger than the program.”

He said his problem was not listening to West and thinking he was the next Stephen Curry.

Even though Centennial had only six players available much of the season for varsity action, Cole created a junior varsity team, so help is on the way if the team gets a playoff spot. The team’s best two players have been guards Jaden McDonald, a transfer from Detroit, and Edward Johnson, who used to be home-schooled.

Five of the six players have played football, including Joshua Crathers, who was the school’s quarterback for two years.

Asked what he learned after winning one game last season, Crathers said, “Don’t give up. When you lose, you get better.”

Cole had to be creative when he lost a player against St. Bonaventure, leaving the Apaches with four players. A student who was a friend of a Centennial player with minimal practices was asked to join the team for a single game.

“We need you to show up,” Cole told the student.

Cole remembers him being so out of shape that he needed a water break after the first play of the game. Centennial won 63-58.

McDonald said the team has no choice but to be in their best shape knowing players have to play the entire game.

“I feel everything that comes to us is deserving, but we have to work hard,” McDonald said.

There’s no reason the program can’t continue to grow considering the Compton area is filled with talent. Remember the city is where DeMar DeRozan, Patrick Christopher, Tyson Chandler and Corey Benjamin once played. It’s about keeping the neighborhood kids home and showing players can develop and explore their basketball dreams.

Considering how far Centennial plunged, a 12-12 record at this point is a stunning reward for the school, players, parents and fans. Let’s see where Cole can take them.

The school is about to go through a rebuilding phase, with the gym being torn down and replaced on a whole new campus.

The straight outta of Compton story is in its beginning stage, but it sure looks like things are changing fast.

If anyone told Mariah Carey ahead of time that Friday night’s MusiCares Person of the Year tribute would feature a live auction — an auction in which a meet-and-greet with the singer in Abu Dhabi was offered to the highest bidder — you sure couldn’t tell by observing her reaction.

Seated near the stage at the Los Angeles Convention Center, a camera feeding close-up images of her face to several screens, Carey appeared genuinely surprised by an auctioneer’s description of the backstage hangout in which she’d be expected to participate next month.

But such is the life of a queen.

Watching Carey respond in real time was actually the best thing about this annual Grammy-weekend gala meant to honor an artist’s work and philanthropy. Though the 56-year-old herself sang for only a minute or so at the end of the show, Carey was a delight to behold as a series of admirers took turns performing some of her many hits (and a handful of deep cuts).

The look of game recognizing game as Jennifer Hudson crushed “Vision of Love.” The tenderness with which she regarded her old friend Busta Rhymes doing their “I Know What You Want.” The slowly dawning realization that this heavily tattooed white man named Teddy Swims was really going to pull off “Without You.”

“That was terrifying,” Swims said when he finished the song — an all-timer of a power ballad with a lengthy chain of custody going back through Carey, Harry Nilsson and the doomed Welsh band Badfinger.

Best of all was the sight of Carey proudly singing along to Foo Fighters and Taylor Momsen as they blazed through a pair of tunes from the cult-fave grunge album she secretly recorded in the mid-1990s under the name Chick.

Other acts on the bill included Adam Lambert, who went slow and moody for “Can’t Let Go”; the British girl group Flo, which gave an airy performance of “Dreamlover”; and Laufey, who kept a watchful eye on a giant prompter scrolling lyrics at the back of the room as she did “It’s Like That.”

Then there was Billy Porter, who took “Always Be My Baby” way over the top with wild vocal runs that made up for what they lacked in precision with — well, mostly with volume.

Carey took the stage late in the evening to give her thanks to “so many friendly and familiar faces — people I’ve worked with, people I’ve long admired, even people I thought I’d never see again.” After her speech, Jon Batiste popped out to lead a random assortment of stars through an all-hands finale of “All I Want for Christmas Is You,” which recently set a new record for the most weeks at No. 1 on Billboard’s Hot 100.

Charlie Puth? Gayle King? Rita Wilson? Carey looked pleased(-ish) to see each one.

How do you find the missing?

If you do find them, how can you help?

Oakland civil rights attorney James Cook has been on the ground in Minnesota for months figuring out answers to these question as he goes.

A fast-talking Minneapolis native who still lives in the Twin Cities part time, Cook is one of a handful of attorneys who have dropped everything to aid (for free) those caught up in the federal crackdown — protesters, immigrants and detained citizens — too many of whom have found themselves facing deportation, arrest or even been disappeared, at least for a time.

“They are leaders that are on the ground really helping people through this process,” Minnesota school board member Chauntyll Allen told me.

She’s one of the protesters arrested inside a local church, charged with conspiracy to deprive others of their constitutional rights by Pam Bondi’s politicized Department of Justice, which also Friday arrested journalist Don Lemon for the same incident. Cook is one of the lawyers now representing Allen.

“It shows us that the judicial arm, or some of the judicial arm of our democracy, is willing to step up and ensure that our democracy stands strong,” Allen said of Cook and others like him.

While it’s the images of clashes in the streets that captivate media and audiences, it’s lawyers like Cook who are fighting an existential battle in the background to preserve the rule of law in a place where it is increasing opaque, to put it gently.

The legal work behind detentions has largely been an overlooked battlefield that will likely rage on years after ICE departs the streets, leaving in its wake hundreds if not thousands of long-and-winding court cases.

Beyond the personal fates they will determine, the outcome of the civil litigation Cook and others are spearheading will likely force whatever transparency and accountability can be pulled from these chaotic and troubling times.

It’s time-consuming and complicated work vital not just to people, but history.

Or, as Cook puts it, “I’ll be 10 years older when all this s— resolves.”

Cook told me this while on his way to the Bishop Henry Whipple Federal Building where some detainees are being held, maybe. It’s hard to find out. A few years ago, when immigration enforcement in Minnesota ramped up under the first Trump term, activists tried to get the name of the building changed, arguing Whipple, the first Protestant Episcopal bishop in the state, had been an advocate of the marginalized and wouldn’t want his name associated with what the feds were up to.

It didn’t work, but the movement’s slogan, “What would Whipple do?” still has resonance in this town, where two American citizens, Alex Pretti and Renee Good, have been fatally shot while protesting — incidents ugly enough that Bruce Springsteen wrote a song about them.

Cook is well aware that the guns carried by the federal agents are not for show, even without the Boss’ new ballad. Just a few days ago, one of the first times he drove his beat-up truck up to the gate, the federal guards at Whipple pointed their guns at him.

“I’m like, ‘Hey, I’m going to take my keys out of the ignition, drop them on the ground. So please don’t shoot,’” he said.

They lowered the guns, but Cook was scared, a feeling that doesn’t come easy.

Long before his law degree, when he was a punk-rock loving teen in the 1980s, fresh out of Southwest High, the public school not too far from Whipple, a former coach convinced him to give up college dreams and instead pursue a shot at making the first Muay Thai kickboxing team at the Olympics.

The martial art ended up not making it as an official Olympic sport, but the experience launched Cook into a professional boxing and kickboxing career that took him to competitions around the world, and taught him fear is not a reason to back down.

But, “Father Time is undefeated,” Cook said. “I got older and I started losing fights, and I was like, all right, time to get back to life.”

That eventually led him to obtaining a law degree in San Francisco, where after an intern stint as a public defender, he decided he wanted to be a trial attorney, fighting in court.

He started cold-calling John Burris, another Bay Area lawyer who is an icon of civil rights and police misconduct cases. Burris, who has been called the “Godfather of Police Litigation,” was involved in the “Oakland Riders” case in 2000, when officers were discovered to have planted evidence. He also represented Rodney King, the family of Oscar Grant, and the family of Joseph Mann among many others.

But Burris, a boxing fan, didn’t respond to Cook’s calls until the young lawyer offered him free tickets to one of his fights, which he was still doing on the side.

“And then immediately I got a call back,” Cook said.

Burris said Cook’s history as a fighter intrigued him, but “I did say to James, you can’t be a fighter and lawyer. You can’t get punched in your head all the time.”

Cook did not take this advice.

Still, Burris said, “It was his persistence that I admired, because the type of work we’re involved in, you need people who are dedicated, who have some real commitment to the work, and he showed that kind of consistency and dedication.”

Cook’s been working with Burris more than 20 years now, but until recently, the labyrinth of the immigration system wasn’t his area of expertise. It’s been a crash course for him, he said, on the often arcane laws that govern who gets to stay in America and who doesn’t.

It’s also been a crash course on what a civil rights emergency looks like. Along with his work looking for locked-up immigrants, Cook spends a lot of time on the streets at protests, helping people understand their rights — and limitations — and seeing first hand what is happening.

“If you ever wondered what you would have done in Germany, now is the time,” he said. “Now is the time to do something. People are being interned.”

In the hours after Pretti was shot, Cook was at the location of the shooting, in the middle of the tear gas, offering legal help to anyone who needed it and bearing witness to conduct that will almost certainly face scrutiny one day, even if government leaders condone it now.

“The way the officers chase people down, protesters who were really just protesting lawfully and were beaten and pepper sprayed and gassed — all those are civil rights violations,” Burris said. “And so the law is the guardrails. So there has to be lawyers who are prepared to protect those guardrails and to stand as centurions, as I refer to us.”

Cook has tried to calm protesters, he told me, and prevent clashes. But people are mad, and resolute. His greatest fear is summer — when warm weather could bring even larger crowds if enforcement is still ongoing. He’s worried that the actions of the federal agents will spill over into anger at local cops enforcing local laws, leading to even more chaos.

“I’ve always supported cops as long as they do their job correctly,” Cook said.

For now, he’s taking it one day at a time, one case at a time, one name at a time.

Tuesday, Cook passed through the armed checkpoint at Whipple carrying a list of about seven people, folks who have been picked up by federal agents for one reason or another, or reasons unknown, and now cannot be located. They are not in the public online system that is meant to track detainees, and family and friends have not heard from them.

If he’s lucky, Cook will get information on one or two, that they are indeed inside, or maybe at a detention center in Texas, where many have been sent. But there will be more whose location remains unknown. He’ll make calls, fill out forms and come back tomorrow. And the tomorrow after that.

“This is what we do,” he said. “I’m always in it for the long run. I mean, you know, shoot, yeah, that’s kind of the way it works.”

ATLANTA — It is a goal spreading among anti-tax crusaders — eliminate all property taxes on homeowners.

Rising property values have inflated tax bills in many states, but ending all homeowner taxes would cost billions or even tens of billions in most states. It is unclear whether lawmakers can pull it off without harming schools and local governments that rely on the taxes to provide services.

Officials in North Dakota say they are on their way, using state oil money. Wednesday, Republicans in the Georgia House unveiled a complex effort to phase out homeowner property taxes by 2032. In Florida, GOP Gov. Ron DeSantis says that is his goal, with lawmakers considering phasing out nonschool property taxes on homeowners over 10 years. And in Texas, Republican Gov. Greg Abbott says he wants to eliminate property taxes for schools.

Republicans are echoing those who say taxes, especially when the tax collector can seize a house for nonpayment, mean no one truly owns property.

“No one should ever face the loss of their home because they can’t pay rent to the government,” Georgia Republican House Speaker Jon Burns of Newington said Wednesday.

An election-year tax revolt

These audacious election-year efforts could be joined by ballot initiatives in Oklahoma and Ohio to eliminate all property taxes. Such initiatives were defeated in North Dakota in 2024 and failed to make the ballot in Nebraska that year, although organizers there are trying again. Another initiative in Michigan may also fail to make the ballot.

“We’re very much in this property tax revolt era, which is not unique, it’s not new. We’ve seen these revolts in the past,” said Manish Bhatt, vice president of state tax policy at the Tax Foundation, a Washington, D.C., group that is generally skeptical of new taxes.

Previous backlashes led to laws like California’s Proposition 13, a 1978 initiative that limited property tax rates and how much local governments could increase property valuations for tax purposes.

The efforts are aimed at voters like Tim Hodnett, a 65-year-old retiree in suburban Atlanta’s Lawrenceville. Hodnett’s annual property tax bill rose from $2,000 to $3,000 between 2018 and 2024. He sees those figures starkly because he paid off his mortgage years ago, and he pays his taxes all at once instead of making monthly payments.

Hodnett said he is disabled and living on $30,000 a year. He is about to get a big property tax break, because seniors in Gwinnett County are exempt from school property taxes, about two-thirds of his bill. But he would love not to pay that other $1,000.

“It would be nice to be exempt from property taxes,” Hodnett said.

Will there be replacement revenue?

The question is whether local governments and K-12 schools should be expected to cut spending, or whether they will be allowed to make up revenue from some other source.

“I think the complete elimination of the property tax for homeowners is really going to be very difficult in most states and localities around the country, and undesirable in most places,” said Adam Langley of the Lincoln Institute of Land Policy, a Massachusetts nonprofit that studies land use and taxation.

Florida Chief Financial Officer Blaise Ingoglia, a Republican, has been touring the state arguing that local governments are overspending, trying to show they don’t need the $19 billion in property taxes they collect from homeowners for whom the property is their primary residence. Local governments have been disputing those figures.

North Dakota is using earnings from the state’s $13.4-billion oil tax savings account to gradually wipe out homeowner property taxes. Last year, North Dakota’s Republican-controlled Legislature expanded its primary residence tax credit from $500 to $1,600 a year. Officials in December said the tax credit wiped out property taxes for 50,000 households last year and reduced bills for nearly 100,000 more. That cost $400 million in state subsidies for the 2025 and 2026 tax years.

“It works, and we know we can build on it to provide even more relief and get property taxes to zero for the vast majority of North Dakota homeowners,” Republican Gov. Kelly Armstrong said.

The situation is murkier in Texas, which has been using state surplus funds to finance property tax reductions, and under the Georgia proposal, which calls for shifting taxes around.

A shift from property to sales taxes

Burns wants Georgia to wipe out $5.2 billion in homeowner property taxes — more than a quarter of the $19.9 billion in property taxes collected in 2024 — telling cities, counties and school districts to fall back on current or new sales taxes.

Not only will Burns’ plan need the Republican-led Senate to agree, but it will require Democratic support to meet the two-thirds hurdle for a state constitutional amendment and then voter approval in November.

While most property taxes go to schools, the majority of sales taxes don’t in some communities. It is unclear whether localities would redivide sales taxes. Also, local governments and schools would remain limited to a combined 5% sales tax rate, atop the state’s 4% rate. Some schools and governments might not be able to raise sales taxes enough to recover lost revenue.

Georgia would go from currently shielding $5,000 in home value from taxation to $150,000 in 2031 before abolishing most homeowner property taxes in 2032. The plan would limit yearly property tax revenue growth to 3% on other kinds of property.

Local governments would able to send homeowners a yearly bill for specified services such as garbage pickup, street lighting, stormwater control and fire protection, but lawmakers aren’t calling that a tax. Voters could also approve assessments for government or school improvements. Authors said they haven’t decided whether property owners could lose homes for unpaid assessments.

Burns also wants to spend about $1 billion to cut property tax bills in 2026, but it is unclear whether Republican Gov. Brian Kemp will agree. A spokesperson declined to comment.

Georgia previously tried to limit how much home values could rise for tax purposes, one common approach nationwide. But a majority of school districts and many other local governments have opted out. Georgia’s senators are still pursuing that approach, with a Senate committee on Wednesday voting to make the limit mandatory.

Amy writes for the Associated Press. AP writer Jack Dura in Bismarck, N.D., contributed to this report.

Josef Centeno, who once dominated the corner of 4th and Main streets in downtown L.A. with his “Centenoplex” of restaurants, all centered around cozy Bäco Mercat, closed his Tex-Mex-ish restaurant Bar Amá in December to open Le Dräq, which brings the most popular dishes from the two restaurants onto one menu, including cheesy bäco bread, a mushroom coca made with vegan dough and green chicken enchiladas. Expect the menu to rotate often but to consistently feature eight dishes from Bäco Mercat, eight from Bar Amá and eight from Takoria, a new market-driven concept. The house burger is a standout, with pillowy milk bread from Centeno’s Orsa & Winston restaurant next door, a thick beef patty, Havarti cheese, and iceberg lettuce and raw red onion for crunch.

An anonymous pitcher whose entire life changed with four innings is standing in a crowded Dodger Stadium bullpen in the middle of winter when he hears a voice from the stands.

“Will, thank you so much!” shouts a fan, and underneath his thick beard, the pitcher blushes.

“This is something I’ve never had before,” said Will Klein.

And this is ruining baseball?

On a crowded concourse in the middle of a Saturday morning two months before the start of the season, fans are chugging beers, scarfing Dodger dogs, and even doing a line dance.

The queue at the elevator is endless. The screams from the crowd are constant. Blake Snell is walking along one of the barriers giving every nearby fan — every one — a fist bump.

And this is ruining baseball?

The Dodgers officially opened their doors for the 2026 season Saturday, holding an annual Dodgerfest that has sent a clear message to a landscape of whiners.

This is what winning looks like.

This is why winning is worth it.

The baseball owners will likely lock out the players after this season in hopes of installing a salary cap that will curb the sort of spending that has fueled the Dodgers’ consecutive championships.

They don’t get it. In hoarding their revenue-sharing money, the owners don’t realize the benefits of reinvesting that money in the players and, by extension, the fans.

The Dodgers do that more often, and more effectively, than anyone.

The result Saturday was a mid-winter party that felt different than any of their previous bashes. Some years they spent this day apologizing for their playoff collapses. Last year they spent the afternoon tentatively talking about going back-to-back.

This year the constraints were off, the party was on, and they all spoke freely of becoming the first time in National League history to win three consecutive World Series titles.

”I don’t mind the ‘three in the air’ as a carrot,” said manager Dave Roberts, adding, “There’s a challenge we’re not going to run from.”

And so the players showed up brandishing hope for this summer while sweetly admitting the emotion that still lingers from last fall.

Klein, who came out of nowhere to rescue the Dodgers with four scoreless innings in the marathon Game 3 of the World Series, was still pinching himself about being recognized in public.

“A guy told me I looked like me,” he said. “I said, ‘Thank you.’”

Then there was Miguel Rojas, finding deeper meaning in his ninth-inning homer that tied the World Series Game 7.

”The most important part is that everybody continues to say that is the best moment that they have in their life, the best moment of sports they watched,” said Rojas. “That makes me feel really good, because we were part of something bigger than just a home run.”

And Rojas said he hears that a lot.

“I waited 20 years in professional baseball to have that moment … something different happened to my life,” he said. “I’m walking around Rome, I’m seeing Dodger fans saying thank you for that home run. It’s crazy, it’s overwhelming.”

Equally overwhelmed was Freddie Freeman, who grew tearful on the stage when talking about hitting the winning homer in the 18th inning of the World Series Game 3 and the impact of winning two titles in his four years here.

“I’m home playing baseball in front of the best fans day in and day out,” he said. “I couldn’t even wrap my mind around coming back and signing here and being part of this. This has blown me away.”

Even the struggling players seemed thrilled to be here, Tanner Scott acting amazingly relaxed when asked for his 2026 goals.

“Not being as bad as last year,” he said. “I was terrible.”

OK, then.

Bottom line, on a midwinter day when most of this country’s major-league baseball stadiums were empty, Chavez Ravine was full of life and wonder and winning.

“Today we see a lot of fans and that really gets me going,” said Shohei Ohtani.

And this is ruining baseball?

“This organization is never ready to be done … they continue to add players, they continue to add talent, that is a good thing,” said Rojas. “We push ourselves … we believe we can always get better.”

Like he said, a good thing.

“I like winning,” said Klein. “People are always going to be jealous of teams that try to win when they feel like others aren’t. Everybody can go out and do the same thing.”

Spring is here, the haters are out, and the Dodgers are ready.

Seeing players here, seeing their energy, obviously seeing the energy of the fans, its certainly time,” said Roberts.

Three-peat, you’re up.

During the summer of 1998, a 19-year-old rapper named Eve (formerly known as Eve of Destruction) received a phone call from her producer friend Scott Storch about an opportunity to hop on a record with the Roots.

The hip-hop band from Philadelphia, formed by Black Thought and Questlove, was bubbling at the time and Eve, a known battle rapper in the city, was excited to work together on a song called “You Got Me.”

After tweaking the verse that Black Thought, the band’s lead MC and co-founder, wrote for her, Eve laid down her vocals, rhyming the lyrics “Another lonely night? / It seems like I’m on the side, you only lovin’ your mic.”

“It was really exciting,” Eve said, while lounging on a couch in a Hollywood residence. The rapper, actor and fashion designer has been based in London for the last decade. “I think that was my most professional setting because they obviously were already signed.”

When the song, which is featured on the Roots’ career-defining “Things Fall Apart” album, was released in 1999, it was the first time the world heard Eve’s voice — but no one knew it was her. To her surprise, she wasn’t listed as a contributing artist on the track.

She was also surprised to find out that Jill Scott, a poet and rising neo-soul singer from Philadelphia who wrote and sang the initial hook, was replaced by Grammy-winning singer Erykah Badu. After receiving the wrong address for the shoot, Eve wasn’t featured in the music video either.

In 2000, the Roots and Badu won a Grammy for “You Got Me,” but because Eve wasn’t listed on the track, she didn’t receive an award. By this time, Eve was signed to Ruff Ryders and promoting her debut album “Let There Be Eve…Ruff Ryders’ First Lady” including her breakout single “Want Ya Want,” so although it hurt her feelings at the time, she moved past it, she said.

“There was no time to kind of go back and think about it,” said Eve, who opened up about the situation in her 2024 memoir “Who’s That Girl.” After years of seeing each other and even performing the song together, she and Questlove spoke about the matter for the first time when she made an appearance on his podcast and apologized to Eve for the oversight. “We were extremely inconsiderate, insular and uncommunicative with each other that things like that always spilled on the sidelines,” the drummer said on the podcast. (Questlove wasn’t available for comment further at the time of publication.)

Last fall, Eve received another unexpected phone call — this time from the Recording Academy. After hearing Eve talk about the “You Got Me” situation on Ebro Darden’s podcast, the Recording Academy wanted to give her an award for her contributions to the track.

“They were like, ‘Listen, we didn’t even know about this situation at all until we heard the podcast,’” Eve recalled.

After 26 years, Eve was given a golden gramophone Thursday night during the Recording Academy Honors presented by the Black Music Collective in front of a star-studded audience. For her, the award feels like “validation in a way to that little girl, to little Eve,” she said. “She deserves that.”

She added, “Whatever is yours can’t miss you.”

Ahead of the ceremony, Eve spoke to The Times about coming up in the Philadelphia music scene as a teenager, what the “You Got Me” situation has taught her and what receiving this award means to her now. She also talked about the impact of her second studio album, “Scorpion,” which turns 25 this year, and what it was like to bring her toddler son on tour with her for the first time.

This interview has been lightly edited for length and clarity.

You grew up in West Philly at a time when so many future greats were coming up at once — the Roots, Jill Scott, Bilal and Scott Storch. When you were just a teenager, you were hanging out at studios with some of them and attending jam sessions at Questlove’s house. What did the energy in Philly feel like back then?

It was amazing because music was everywhere. I knew that I wanted it to be my life, so every weekend I was doing something. I should’ve been going to school, but I was going to the studio because I knew that I wanted music to be my life. And in Philly, there was always something going on whether it was a block party or a jam session or an open mic night. I was at everything.

Scott Storch was the person who called you about getting on the Roots’ “You Got Me” record. What was your reaction when you got that call?

When you are young, there’s that no fear thing. I remember being excited, of course, but also like, “Yes! I’m supposed to be here,” not from a cocky place but more affirmative. It was really exciting, but it was also very professional. I think that was my most professional setting because they obviously were already signed. I’d never been around that before, so I remember [being] like “This feels like the business.”

You were around 19 or 20 at that time, right?

I must have been around 19 because I would’ve gotten signed and dropped [from Aftermath] when I was 18. [laughs]

At that time you were in between record deals, so it must have felt like a big opportunity.

Absolutely. You know what’s funny, I probably just took it for granted in the sense of like “Oh yeah, this is the start.” They are signed. It’s funny because I think back on the situation and I guess I thought it was gonna pop off from there. That’s why all the events that happened afterward were like “Ugh.”

Take me back to the day that you laid down your verse. Who was in the studio with you?

I’m pretty sure Black Thought and Jill [Scott] were there. Even if not the whole session, I don’t know if I’d come in if she’d finished or whatever, but I’m pretty sure she was there.

How did your verse come together?

I had this whole thing in my head, but Black Thought had a whole verse already. But then I was like, “I’m not gonna just say your verse.” Now, I have a writer sometimes, but back then, especially because I was a battle rapper, it was like I can’t say somebody else’s bars. That’s not real. So he had this whole thing and then I kind of tweaked it to make it feel and sound like me.

I had a lot of audacity back then. I really did. [laughs] Because most people would be like “Yeah, cool.” Also, I was like if I’m going to put my voice on this, I really want to feel like me. I have thought about this [situation] so much now, and I’m sure that also attributed to them being like, “We don’t need to reach out. We don’t need to make sure it’s OK” because the majority of it was written by him. Not that that’s an excuse because there is no excuse.

When was the first time that you realized you didn’t receive credit for the song? If I’m not mistaken, I think Jill Scott found out that her vocals were replaced by Erykah Badu after she heard it on the radio.

I think it was kind of the same thing. It all happened so fast like, “Oh, the song is out.” I probably heard it around the same time and thought “Oh, that’s not Jill. Oh, that’s Erykah Badu.” It was such a weird timeline because I did the song a year or a few months before, and then by the time I heard the song, I was living in Harlem and I was signed to Ruff Ryders.

The song went on to win a Grammy for rap performance by a duo or group in 2000, but because you weren’t credited, you didn’t receive an award. In your book, you talk about how this situation lined up with you being dropped from Aftermath Entertainment and moving back home from L.A. How did you deal with all of this emotionally?

I feel like I had a month that I was just [felt] — I don’t know if I’d call it depressed — deflated. I really felt like damn, this was it and now I’m back home. I was just in L.A. in a condo with a nice bank account. Now I’m back at my mom’s house in my pajamas and I gotta catch the bus. What the hell is happening to my life? [laughs] That was horrible so I was wrestling with my feelings and my sadness, but my mom was great. My mom has always been my rock. She was supportive and she [didn’t] tell me to get over it. She kind of just let me wallow in it, but [she was] positive as well like, “Maybe that wasn’t the time.” It was crazy, but I will say, I needed it. I’m happy that happened because I wouldn’t have the career I have now. Like going back to the Aftermath thing, if I had come out then, I wouldn’t have the career that I have now. I feel like I did need to be humbled because it was definitely the Philly attitude that got me fired, that got me dropped. [laughs] My name at the time was Eve of Destruction, my battle rap name, so it was the time that I sat with my feelings and I was like if I get this chance again who is it that I want to be as an artist? Who do I want to show the world? I didn’t want to take on a title. I was like I’m just going to show them myself. I’m going to show them Eve.

Some fans knew that you didn’t receive credit on this track, but others found out for the first time when you talked about it last year during an appearance on Ebro Darden’s podcast.

It’s crazy how many people are mad about it for me. I had friends who were like, “Girl, so what’s going to happen?” [laughs] But it is a funny thing. Why wasn’t I mad enough? Or was it — this is the over-analyzer [in me] — one of those moments where I just wanted to forget about it. Because, yeah, my feelings were definitely hurt if it was a fake address. Or did we get the address wrong? So maybe I was like, “I’ll just put it on the back burner,” but Ebro definitely did not. And you know what, I’m happy he didn’t because sometimes it takes for a person to be your champion or your cheerleader in certain things and I do appreciate it.

“You Got Me” is one of the Roots’ biggest songs to this day. Was it weird hearing it played everywhere when it first came out?

During that time I did not see them. It was very weird. That song had come out, I was doing my thing, but we ran in different circles hip-hop-wise. I guess we just never crossed paths. I never really saw them. I think they were on tour by then and I was with Ruff Ryders. We didn’t see each other until years later because we have performed that song now three times probably at separate points in my career, which is also weird. [laughs]

That is weird.

It’s weird. I don’t know what’s wrong.

Now, 26 years after “You Got Me” won a Grammy, you are finally receiving your award and honored at the Black Music Collective Recording Academy Honors. What was your reaction when you found out?

It was weird at first because the [academy] called a lot of different people. They called like four different people because they wouldn’t tell anybody why they wanted to talk to me. Finally, I think Swizz [Beatz] was probably the last person they called. Then we got on the phone and I remember I was having martinis in London. It was a FaceTime [call] and I was standing under a lamp. It was not professional on my side and I was trying real hard not to be tipsy. I was like, “This is so cool. Thank you, guys.” [laughs] My friend, who I was with, was like “What did you have to take a call for?” and I was like “Girllll.” So it was a fun night. I came home and told my husband, fell asleep and when I woke up, I completely forgot about it. Then my friend texted me and was like “Do you remember?” and I was like “Oh s—! Yeah!” It’s just such a cool thing and since then it’s been like “Wow.” They said, “We could send you the Grammy, but we’d like to give it to you.” It’s really nice. It’s a really interesting feeling because obviously it’s been so long, something that I thought I was done with, in a way, so it feels good.

What did they tell you exactly?

They were like “Listen, we didn’t even know about this situation at all until we heard the podcast.” It was the podcast that I did with Ebro when they were like “Oh nah.” Even Swizz was like “Sis, we gotta make this happen. That’s not cool.” And I was like “OK, cool.”

Does receiving this award now feel like reconciliation at all? Or maybe validation?

In a way, validation to that little girl, to little me. It sounds a bit cheesy, but she deserves that. It’s a great moment. I’m still wrapping my head around it in a way especially since I’ve been away from music for so long and for this to be happening like this is very cool.

What have you learned or taken away from this situation?

I think I’m honestly still processing because I was joking, but kind of not, like I want to talk to my therapist about why I let this go. What was it? Why did I think, “Oh nah, it’s cool. We squashed it.” But it’s like no, this is bigger than that. But good s— comes to good people and I know for sure I definitely deserve it. [laughs]

In other exciting news, this March marks the 25th anniversary of your second album, “Scorpion.” What memories rush back to you when you think about that time of your life, living and working in Miami?

Oh my God. There’s so many. It was so fun. I remember the house we rented. I had one Yorkie, then I bought her a friend in Florida. It was silly s— that I remember and then just being in the studio day and night. Then the Marleys were on the other side. It was just a good time. I was fully in it. It was a lot of pressure because it was like “We gotta get this album done now.” It’s when I really think I felt the business of music in the sense of like, “We gotta meet these deadlines. We gotta get this album out,” which was stressful but I was still naive enough, I think, to still be having fun. I was going out. I met Trina. Trina is my girl. Overall, it was a really good time.

Between experimenting with new sounds, crossing genres with artists like Gwen Stefani, and making the theme red, “Scorpion” felt very intentional. Reflecting back, what did that era represent for you personally beyond the music?

I feel very lucky that Ruff Ryders always allowed me to artistically do what I wanted to do. They never said things like “Oh this might not work.” And even sonically, they weren’t the ones who were fighting back, it was more like executives and Interscope, but for me “Scorpion” means red. Red is a scorpion color. We gotta come out stinging, but I also want to show that I’ve grown, that I’ve matured and really show what my ear is. I felt really lucky that they didn’t fight me on it. They let me do exactly what I needed to do. It felt collaborative because that’s how Ruff Ryders worked anyway. There were people in and out of the studio all the time, but it made it good because sometimes a conversation led to a hook or a verse.

Last year you went on tour with Nelly, Ja Rule and Chingy, and you brought along your son. What was it like having him there with you, seeing you on stage?

It was grueling. I ain’t gone lie. It was amazing, but being on tour with a toddler is different. That being said, the reason I said yes to doing the tour is because he’s young enough that I can kind of tote him around, but he’s old enough that he can remember. Seeing him on the side of the stage was like “Oh, my little baby.” It was also fun. Like everybody on that tour had bangers, so even me performing or being backstage and hearing Ja or hearing Nelly or hearing Chingy, it was a good tour. The crowd showed up. It was a really cool tour too because in some places, it was like generations of people together like the kids and the moms, and then there were a lot of young people, and I was like “Oh, I love this.”

What else do you have coming up?

Listening to new music and discovering new artists. I am excited about this 25th anniversary because we are going to do some really fun stuff with it and we’re talking about some re-imaginings with it. Just touch some of the songs that people love and give it a bit of life. What else? I don’t know. I’m just “momming.” That’s my favorite thing right now. He’s getting so big. I cannot believe he’s about to be 4. Watching him grow is nice.

Before starting a cosmopolitan life as an artist in Mexico City, queer filmmaker Efraín Mojica came of age between Riverside and the rural town of Penjamillo, Michoacán: home to an annual jaripeo, or a Mexican rodeo competition that takes place every Christmas.

Every year, cowboys convene to test-drive their masculinity, namely by swigging handles of tequila and precariously mounting the backs of bucking bulls. These heroic shows of manhood long fascinated Mojica, who frequented jaripeos with family — and quietly forged a community with other locals who diverged from Mexican gender norms.

That community would become the cast of “Jaripeo,” the debut documentary feature film by Mojica and co-director Rebecca Zweig, which premiered at this year’s Sundance Film Festival in Park City, Utah. Shot in the style of cinéma vérité, Mojica appears as both a narrator and protagonist. Zweig, who first encountered Mojica in Seattle’s punk scene, follows them behind the lens as they interview members of the LGBTQ community in and around Penjamillo.

“[Mojica] invited me to Michoacán in 2018 to spend Christmas with their family,” Zweig tells The Times, the day after the film’s Jan. 25 premiere. “As soon as I was at the rodeo with them, I became obsessed with the performance of masculinity.”

“[Zweig] was like, ‘How do you feel about making a documentary [about] the rodeos?’” Mojica tells The Times. “I said, ‘Yeah, but it’s got to be gay.’”

Produced by Sarah Strunin, the documentary begins with a pastoral scene from Mojica’s pickup truck as they overlook the grasslands of Michoacán. Pink party lights and techno music are woven into scenes of bandas and revelers in tejana hats, who kick up dust as they dance inside the rodeo ring. The crew flashes strobe lights in the cornfields, lighting up the figures of sexy cowboys sifting through the crops to find one another — drawing parallels to queer nightlife in the cities.

“On New Year’s there’s a rodeo in Acuitzeramo, with like 10,000 people and big speakers with heavy bass,” said Mojica. “What’s the big difference between a city rave and a rancho jaripeo, you know? They’re doing the exact same thing.”

“I wanted to blur all the lines and make these abstract sequences,” says Zweig. “And I thought, how much is that gonna be allowed in a formal [film] institution? I want to shout out public media, [because] when we got the Open Call Fund from ITVS, they took a chance on us as first-time filmmakers. [Marlon Riggs’ documentary] ‘Tongues Untied’ was also funded by ITVS — the legacy of queer cinema and documentaries in the U.S. has been supported by public media.”

Each interview adds more color and dimension to Mojica’s memories of the village they left long ago, no longer suspended in the past. Mojica visits Arturo Calderón, a local rodeo clown known as “La Pirinola,” who performs in drag; Calderón lets the camera roll as he paints his eyelids electric blue.

They later stop by the local church and the disco with Joseph Cerda Bañales, a bearded makeup artist who brandishes long stiletto nails to the rodeos. Despite efforts from the festival organizers, and even a letter from Sen. John Curtis (R-Utah), Cerda was unfortunately not granted entry into the U.S. for the Sundance premiere.

“Joseph is the mayor of his town,” says Mojica. “He’s the president of the church. He runs the folkloric ballet. He does everything. It’s not that there’s no more traditional culture… People just want to keep the community together. [It means] holding a bunch of truths [and] contradictions at the same time.”

Mojica even shares flirtatious moments onscreen while interviewing Noé Margarito Zaragoza, a dashing and stoic ranchero who lives discreetly as a gay man.

“It’s exciting, but at the same time I’m a little nervous,” says Margarito of coming out in the film. “Part of my family doesn’t know what’s going on with my life, so I don’t know how they’re going to take it. But my main family members — my siblings, my dad — well, they feel content and happy [for me], so I’m going forward and giving it my all.”

“We never talked about my queer identity,” says Mojica of their own family, some of whom flew in for the premiere of “Jaripeo” at the Yarrow Theatre in Park City. Mojica planned a belated coming out talk at dinner the night before; the discussion never happened.

“I choked up,” says Mojica. “I thought, ‘OK, I’m just going to give them a little heads up of what the film’s actually about.’ But I could not vocalize a single word. My eyes started tearing up. So I was like, ‘See you tomorrow!’”

It was after the screening, during an open Q&A, when Mojica’s mother quelled the artist’s fears in one fell swoop.

“What was the reception from your family after seeing the film?” an audience member asked Mojica in Spanish — unaware that their family had just watched it for the first time with everyone else in the theater.

To that, Mrs. Mojica Rubio rose from her seat and introduced herself “as a very proud mamá” who loves her child “unconditionally.”

After a beat, she exclaimed: “It’s the 21st century!”

Mrs. Mojica Rubio’s show of support was promptly met with resounding cheers from the audience. “My mom also approached [Margarito] and said, ‘I’m going to give you a mother’s hug, because you deserve it,’” says Mojica, who appears misty-eyed as they recount the scene.

In a time of increasing hostility against LGBTQ people and immigrants in the United States, to behold the strength of a mother’s love — and the solidarity across communities — affirms the purpose of such a film, with a power that transcends states, governments and institutions.

“People in different countries [have] this antiquated idea that Mexico is this little ranchita that’s hateful, that they’re gonna beat you if you’re queer. But we really care for each other,” Mojica says.

“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” added Margarito. “So let’s hope [the movie is] a success.”

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, giving you the latest on city and county government.

Los Angeles Mayor Karen Bass did something this week that would have been unthinkable three years ago — she took an unprompted swipe at her counterparts in L.A. County.

Bass, while weighing in on L.A.’s so-called “mansion tax,” dinged the county for creating what she called a “bureaucratic” homelessness agency, saying it threatened to undermine the city’s progress on the crisis.

County Supervisor Lindsey Horvath hit back hard, telling Bass on X that the county created the new agency because the existing one — which is partly overseen by Bass appointees — was incapable of tracking its spending.

“The County is fixing the problems you’ve ignored,” Horvath said.

Things have been bad between Bass and Horvath for more than a year, with the two Democrats taking veiled, and sometimes not-so-veiled, swipes at each other. But could they become adversaries in the truest sense of the word — as head-to-head rivals in this year’s mayoral election?

Horvath, who has spent months lining up endorsements for her own reelection campaign, has until Saturday to decide whether to enter the mayor’s race, challenging Bass’ bid for a second term. She told The Times she is seriously weighing a run — and “spending the weekend in deep reflection” with friends and family.

“From a young age, my faith has guided me through the most important moments of my life,” said Horvath, who is Catholic. “This is one of those moments.”

Bass, who is running in the June 2 primary for a second term, is already facing challenges from reality television star Spencer Pratt, former school superintendent Austin Beutner and community organizer Rae Huang, who has focused heavily on housing issues. Still, a Horvath bid would reshape the contest dramatically.

Beutner has not campaigned publicly since Jan. 5, one day before his 22-year-old daughter died of undetermined causes. Real estate developer Rick Caruso opted on Jan. 16 to stay out of the race, after sharply criticizing Bass for more than a year.

On paper, a Horvath mayoral bid looks somewhat risky. If she takes the plunge, she would no longer be permitted to seek reelection to her supervisorial seat, representing about 2 million people on the Westside and in the San Fernando Valley. Bass has been raising money for more than a year and has locked up key endorsements, including the Los Angeles County Federation of Labor.

If she runs, Horvath would face questions about the county’s difficulties, including a $4-billion legal payout over sexual abuse that has been marred by fraud allegations and a screwup surrounding Measure G, the 2024 ballot measure that will expand the number of county supervisors but also is on track to inadvertently repeal a criminal justice reform measure.

On top of that, there’s the secret $2-million payout to the county’s top executive.

Horvath said she’s seen recent polling that makes clear that “there’s an appetite for change” among Angelenos. Community leaders, residents of her supervisorial district and “those longing for a better Los Angeles” have been asking her to run, she said.

“I am listening carefully and seriously both to those who are urging me to enter this race, and to those who are eager to continue the work we have begun together at the County,” she said in a statement.

A spokesperson for the Bass campaign said he does not comment on prospective candidates. Pratt, for his part, said he’s rooting for Horvath to jump in so that “voters can see two career politicians calling each other out for the failed policies they both promoted.”

“Lindsey Horvath and Karen Bass are both responsible for the decline of our city, and the more they talk about each other, the more the public will see why we need a complete reset,” he said in a statement.

Even if Horvath doesn’t run, it looks like her relationship with the mayor will be rocky for the foreseeable future. The first-term supervisor has emerged as one of Bass’ most outspoken critics, highlighting an array of issues at City Hall.

Earlier this month, Horvath told The Times that she hears regularly from Angelenos who complain that they’re not getting basic services. She said that support within City Hall for Inside Safe, the mayor’s program to combat homelessness, is eroding.

Horvath has also taken aim at the city’s response to the Palisades fire, pointing out in a letter to Gov. Gavin Newsom that the Fire Department’s after-action report was watered down and then disavowed by its author. A day later, she told CBS2 that Bass was not being truthful about the county’s new homelessness agency.

Bass also has her own bully pulpit. On Friday, she stood outside federal court and railed against the indictment of independent journalist Don Lemon, calling it an “assault on our democracy.” Prosecutors have accused Lemon of violating federal law while reporting on a protest inside a Minnesota church.

The strained relations between Bass and Horvath are noteworthy given the mayor’s heavy focus on collaboration early on in her administration, when she triumphantly declared she was “locking arms” with a wide array of elected officials — including county supervisors — in the fight against homelessness.

Bass has attempted to stay above the fray, mostly avoiding direct conflict with other politicians — at least in public. But the Palisades fire, which destroyed thousands of homes and left 12 people dead, showed things weren’t always amiable behind the scenes.

Two weeks after the fires, Horvath and Bass were at odds over their joint public appearances, with Horvath complaining via text message that the mayor’s approach didn’t feel “very ‘locked arms.’”

Months later, Horvath and her colleagues on the Board of Supervisors voted to pull hundreds of millions of dollars from the Los Angeles Homeless Services Authority, moving the money to the new county homelessness agency.

Horvath said the change was urgently needed in the wake of highly damaging reports about LAHSA’s financial oversight. Bass, in turn, warned the move would create a “monumental disruption” for the city’s effort to bring unhoused residents indoors.

Last month, Bass published an opinion piece in the Daily News criticizing the county, pointing out that its new homelessness agency was already proposing cuts to programs that have served the city’s unhoused population.

Bass echoed that criticism in a recent interview, saying the cuts were proposed a year after voters approved a half-cent sales tax to fund homeless services.

Those reductions, if enacted, would scale back the operations of A Pathway Home, the county’s counterpart to Inside Safe.

“We are going to do the best we can without a full partner in the county,” Bass said.

Horvath, for her part, said she wants to scale back A Pathway Home because it is too costly — and is not achieving the success that county officials want.

State of play

— BACK TO THE DRAWING BOARD: City Councilmember Nithya Raman fell short in her attempt to send voters a ballot proposal rewriting Measure ULA, the tax on property sales of $5.3 million and up. Councilmembers said they did not even want to discuss the idea until it had been vetted by her committee.

— PIT BULL PAYOUT: The city paid more than $3 million last year to a woman who adopted a dog from the South L.A. animal shelter, only to have it attack her two days later. She later found out the dog had bitten a grandmother’s face. The case is raising questions about the way some shelter dogs are promoted on Instagram and other platforms.

— HEADING TO TRIAL: After a weeklong hearing, a judge ruled on Wednesday that the criminal case against Councilmember Curren Price can proceed to trial. Price, who has been charged with embezzlement, perjury and violations of conflict-of-interest laws, is slated to leave office in December. His lawyer said he did not act with “wrongful intent.”

— CLEARING CASES: Los Angeles police solved more than two thirds of homicides citywide in 2025, in a year that ended with the fewest number of slayings in six decades, according to figures released Thursday.

— GIVING TO GIBSON DUNN: The council signed off on a $1.8-million increase to its legal contract with Gibson Dunn, which is representing the city in the seemingly endless L.A. Alliance case. The increase, which passed on a 9-4 vote, brings the contract to nearly $7.5 million.

— PAYOUT PAUSE: Los Angeles County will halt some payments from its $4-billion sex-abuse settlement, as prosecutors ramp up their probe into allegations of fraud.

— LAPD VS. PROTESTER: A tense exchange between an LAPD captain and one of the Police Department’s most outspoken critics has gone viral.

— BATTLING TRUMP, PART 1: President Trump signed an executive order to allow victims of the Los Angeles wildfires to rebuild without obtaining “unnecessary, duplicative, or obstructive” permits. The order, which is likely to be challenged by the city and state, was immediately derided by Gov. Gavin Newsom, who said Trump should provide FEMA relief.

— BATTLING TRUMP, PART 2: Trump also vowed to fight the construction of new low-income housing in the Pacific Palisades burn area. L.A. officials say no projects are planned.

Quick hits

• Where is Inside Safe? The mayor’s signature program to fight homelessness went to the area around Gage Avenue at St. Andrews Place, located in the South L.A. district represented by Councilmember Marqueece Harris-Dawson.
• On the docket next week: Bass delivers the first of her two State of the City speeches, which has been billed as a “unifying celebration of Los Angeles.”

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

MICHELLE KEEGAN has shared snaps from her second glam trip of the year despite being blasted by Essex mums over her gifted holiday.

The mum-of-one, 38, jetted off to Abu Dhabi a couple of weeks ago with husband Mark Wright and Palma but fans weren’t happy when they realised it was a paid for all-expenses trip.

Now the former Coronation Street star has jetted off to Los Angeles as she shared a series of pictures in America on her Instagram stories.

She posted snaps of a brightly coloured barista art coffee as well as a neon sign that read, ‘The Beverly Hills Hotel’.

A collage of photos showed the actress wearing a multi coloured buttoned up top with a pair of jeans and some brown boots.

As she smiled for the camera, she opted for a straightened hair look for her brunette locks and went for a subtle make up look complete with a nude lip, mascara and a bit of blush.

It’s unclear whether Michelle is in the US for work or play, but it was previously reported that the Netflix star was in talks to star in Reese Witherspoon’s big-budget movie adaptation of her new novel.

Oscar-winner Reese, 49, wrote crime thriller Gone Before Goodbye with American author Harlan Coben, who was behind Michelle’s Netflix hit show Fool Me Once.

Harlan introduced the women to each other at the launch of the book at the ­London Literature Festival, held at the capital’s Festival Hall last weekend.

A source said: “Harlan has been singing Michelle’s praises to Reese and she was keen to meet her. They got on really well and it was clear Reese was really taken with Michelle.

“The plan is to turn the book into a film and Michelle is their first choice to take on the role of the lead character, Maggie McCabe.

“She is a combat surgeon and Michelle previously played an Army medic in Our Girl on the BBC, so it’s a role they know she could take on with style.

“It’s early days but Harlan and Reese think Michelle is tailor-made for this role and would love her to come on board when the time is right.”

Michelle’s trip comes just week after her freebie trip to the UAE in which she was slammed by Essex mums.

Michellle and Mark stayed at the lavish Rixos Premium in Saadiyat Island, but they didn’t pay a penny for the stay.

It got locals back in Britain, who have got to know Michelle since she moved into her £3.5m mansion in Essex, talking – and not in a good way. 

A source explained: “Local mums are incredibly jealous of the trip and the fact she got it for free.

“They feel like she is really out of touch and showing off something rotten by plastering it all over social media. They are used to it from Mark, but not her.”

And her outraged Instagram followers rushed to express their upset, with one person questioning: “Lovely, could you not have gifted it to a family who could never afford the experience??”

But insiders told us that Michelle has “had enough of the constant whispering and bitching from these so-called Essex wives and the trolls”.

They added: “These women are obsessed with her because they want to be her –  they’re jealous, plain and simple.

“They watch everything she does because they wish they could be as beautiful and famous as her, then sit around slagging her off just because Michelle is too busy to be their friend.

CARDI B loves bad boy Stefon Diggs, but one wrong move and she’s out, two sources have told The U.S. Sun.

The controversial NFL star is gearing up for next weekend’s Super Bowl, with the chance to lead the New England Patriots to glory in San Francisco. 

As The U.S. Sun exclusively revealed, the Patriots star has six baby mamas dotted across the United States, with the most recent addition to his ever-growing brood arriving late last year. 

Diggs, 32, and Cardi welcomed their son on November 4.

Incredibly, most of Diggs’ children were born within a few months of each other in 2025, fueling intense speculation and online debate. 

Amid paternity battles and feverish social media chatter, Cardi has quietly backed her man behind the scenes.

An insider told The U.S. Sun that she was fully aware of Diggs’ reputation from the start — and believes he has changed.

“Cardi has known since day one that Stefon had a reputation as a womanizer and had seen multiple women in the past, but her love for him is above all of that,” the source said. 

“She knows he has been faithful since they made things official and that he’s been transparent about his previous relationships, only seeing her since they committed to each other.”

The insider added that while Cardi “hates all the drama,” she admires Diggs’ role as a father.

“She loves that he’s not a deadbeat dad,” the source said. “She believes he’s a present, loving, and supportive father.”

Diggs’ first child, daughter Nova, was born in 2016, but his family has expanded rapidly in recent years. 

In late 2024, Instagram model Aileen Lopera filed a paternity suit claiming Diggs was the father of her unborn child. Their daughter, Charliee Harper Diggs-Lopera, was born in April 2025.

Diggs initially requested DNA testing, and by late 2025, The U.S. Sun exclusively revealed he was the biological father. 

The lawsuit was quietly dismissed in January 2026, suggesting the matter was resolved privately.

NO MESSING

Around the same time, Diggs also welcomed children with other women, including K’yanna Barber, who has previously been linked to Drake.

Rather than viewing Diggs’ children as competition or conflict, Cardi, who starting dating the Patriots star in October 2024 after divorcing rapper husband Offset, reportedly sees them as part of an extended family.

“She sees his children as an extension of the family and enjoys when they’re all together, spending time as one big extended family,” the source said.

“She doesn’t harbor hate toward Stefon’s exes or the mothers of his children. She doesn’t judge — she just wants everyone, especially the kids, to be happy and grow up in a stable, healthy environment.”

Still, Cardi has drawn a firm line.

The source said the New York rapper has been blunt with Diggs, warning him there will be no forgiveness if he crosses it.

“She’s been very clear with Stefon: if he messes up, if another woman comes forward with a baby after they became official and started a family together, she’s done,” the insider said.

“She told him plainly that if he cheats or has a child behind her back, it’s over.”

While fiercely loyal, Cardi reportedly struggles when Diggs is publicly criticized.

“She does get upset when people talk badly about him, seeing it as disrespect,” the second source said.

“She’s had arguments over how some people address or treat him in public — but she’s learning how to handle it better.”

Behind the scenes, Cardi has played an active role in helping Diggs navigate co-parenting and blended-family dynamics.

“When she loves, she fights for her man. Period,” the source said. “She talks to him often about how to best navigate situations involving multiple baby mamas and co-parenting. She gives him advice on being the best father he can be, and he appreciates the constant support she shows him.”

It promises to be another whirlwind few weeks for Diggs. 

Fresh from taking part in his first Super Bowl, he is set to head to court to contest felony strangulation and misdemeanor assault and battery charges stemming from an alleged incident in a Boston suburb on December 2.

The woman, who has not been publicly identified and was employed by Diggs as a personal chef, filed a police report on December 16 — several weeks after the alleged incident. 

According to Dedham police, she appeared “emotional and hesitant” to identify the suspect, citing his fame and public profile in New England.

Court documents allege Diggs entered her unlocked bedroom and confronted her over a text-message dispute regarding money he allegedly owed her. 

As the argument escalated, Diggs allegedly struck her across the face. When she attempted to push him away, he then tried to choke her, according to the report.

“The male then tried to choke her using the crook of his elbow around her neck,” the police report stated.

Another issue for Diggs, who is on a whopping $70 million, three-year deal with the Patriots, could be him shelling out an estimated $2 million alone on child support, according to an expert who spoke to The U.S. Sun.

Despite the mounting pressure, Cardi is standing by her man.

“She believes he’s telling the truth,” the source said. “She knows how frustrating these situations can be, but she’s there for him 100 percent, fighting alongside him.

“She sees herself as a lioness standing beside her lion — defending him, wanting him to be respected and loved, while also holding him accountable for his actions.

“To her, love means going to war for your partner when needed — being their strongest support in any circumstance.”

The U.S. Sun reached out to Cardi B’s reps, but is yet to hear back.

This time 36 years ago, Fabrice Morvan was preparing for his first Grammy Awards. It had been a wild few years for the 23-year-old Parisian and his best friend Robert Pilatus from Germany. The duo known as Milli Vanilli had rocketed to fame, going from obscure dancers in Munich to dominate the pop music scene. Not only were they nominated for best new artist, but they were expected to perform live. Underneath it all, the pair were quickly reaching their breaking point.

Don Henley’s “The End of the Innocence” was nominated for both song and record of the year. Indeed, for the tens of millions of Milli Vanilli fans who bought their records, the 1990 Grammy ceremony marked an end of innocence of sorts. To this day, Milli Vanilli are the only artists in the history of the Grammys to have their award revoked.

“Rob and Fab,” as they were known, never sang — live or in studio — on any of the smash hit singles from their 6x platinum debut North American album, “Girl You Know It’s True.” Their Grammy performance was them lip-synching to a playback.

The real singing was done by paid session vocalists John Davis, Brad Howell and Charles Shaw while Rob and Fab captivated with their charisma, athletic dance moves and eye for style. In the wake of the fallout, Milli Vanilli remained steadfast that what they did was wrong. There was, in fact, plenty of blame to go around even if Rob and Fab suffered the brunt of it.

“They removed the platinum records from the wall at Arista,” says Morvan, now 59. He is perched on the edge of a poolside lounge chair from a boutique hotel in the heart of Hollywood. It’s a sunny December day, but he’s dressed all in black with glasses to match, slim fingers adorned with a custom silver skull ring. He loves the sunshine, but offers for my sake to move somewhere in the shade. Able to pass for decades younger, he now basks in life on the other side of infamy.

Now, in a redemption as astounding as his rise, Morvan is back in the running for the 2026 Grammys as the only person in Recording Academy history nominated after a prior revocation.

This time, the voice is unmistakably his. Nominated in the audio book, narration, and storytelling recording category for his memoir “You Know It’s True: The Real Story of Milli Vanilli,” Morvan’s lilting French dialect and soft tone are hypnotizing and he has a natural knack for storytelling. The recording was performed alone in his home studio.

“They say the truth will set you free. The truth takes the stairs while the lies take the elevators. And that is true. So finally, after 35 years, my truth comes to the surface,” he contends. “And people, they get it, they understand that.”

Sadly, Rob Pilatus isn’t here to see it. Unable to handle the fallout and struggling in addiction, he died in 1998. In one of the more moving parts of his memoir, Morvan speaks to his former partner, laying bare for the first time some of the more unhealthy aspects of their relationship but in a way that makes clear his love for Pilatus runs deep.

After Pilatus’ death, Morvan tried his best to move on. He taught French at a Berlitz school for a while when not performing at small venues. “I’m not even looking at becoming big,” he told Times journalist Carla Rivera in a 1997 profile. He even had a stint on radio hosting “Fabrice’s Fabulous Flashbacks” for KIIS-FM. But he always returned to making music.

“Music was always there with me,” he says, his excitement building. So when it came to moving forward in life, and, I said, ‘OK, what am I going to do?’ Music kind of popped up and said, ‘Hey, show me how much you love me.’ And then I worked on that, and I learned how to play guitar, and I learned how to produce, and I learned how to write … it allowed me to take the pain away, to remove it.”

But after 20 years in Los Angeles, Morvan felt it was time to leave “Hotel California,” as he calls it, for opportunities in Europe. In a follow-up Zoom call from his home in Amsterdam, he confides that he almost felt like giving up, but figured maybe a change of scenery was what he needed.

“I was very disillusioned,” he says, headphones crowning his dreadlocked updo. “I found a producer that I could work with and build something with, but due to certain circumstances, it didn’t come together. So I met some Dutch people that wanted to launch a fashion line. And I heard that Holland was a place where dance music was evolving.”

Becoming a DJ, he played festivals and kept Milli Vanilli’s legacy alive, performing with a live band.

While preparing for a project about 15 years ago, Morvan met his current partner, Tessa van der Steen, who is Dutch and works as a health and fitness coach and alternative medicine practitioner. Together, they have four children: a 12-year-old boy, 9-year-old girl, and a set of 4-year-old twin boys.

During Milli Vanilli’s heyday, powerful male (mostly white) figures held the cards, but in this phase of his life it’s women who play big roles. Not mentioned in his book is Kim Marlowe, who Morvan says, in the 1997 Times article was his manager and best friend. They at one point married; Marlowe quietly filed for divorce in L.A. in 2024.

Van der Steen, however, is the love of his life. She had no idea who he was when they first met, he was simply “Fabrice.” And according to Morvan, she is fiercely protective. “Fab is the most loving partner and father I could ever imagine,” Van der Steen writes over email. “We are soulmates. We have been together for more than 15 years. We understand each other, and it happens often that we are thinking of the same things, without saying a word.” She champions his efforts to release original music and continue performing.

In recent years, changes in culture, technology and the music industry have opened up conversations casting Rob and Fab in a more sympathetic light. Morvan himself took part in the well-received 2023 Paramount+ documentary “Milli Vanilli.” That same year, “Girl You Know It’s True,” a well-made biopic directed by Simon Verhoeven, came out.

And Morvan was caught off guard when Ryan Murphy featured Milli Vanilli prominently in his 2024 series on the Menendez brothers, a move introducing the group to new generations unfamiliar with the story. Motivated by the renewed interest, he recorded a stripped down, acoustic version of the Diane Warren-penned hit “Blame It on the Rain.”

As recently as November, Milli Vanilli came up in the zeitgeist, sparked by a comment on X by veteran producer Jermaine Dupri commenting on AI “artists” charting on Billboard.

Of course there are still detractors, but in an era in which public cancellations abound and apologies are scrutinized for any whiff of inauthenticity, Milli Vanilli’s wrongdoings can now seem quaint.

Benjamin Matheson, assistant professor at the University of Bern’s Institute on Philosophy, studies collective shame and writes on celebrity apology. He offers the startling thought that certain fans might be more willing to forgive a moral wrong, even an egregious one like unlawful intercourse with a minor in the example of director Roman Polanski, as opposed to artistic deception because it can be seen as more authentic.

“I think that perhaps,” Matheson writes over email, “Milli Vanilli suffered because they were an early ‘created’ pop band, and the public hadn’t been acclimatized to this kind of music. Whereas now I think people are much more comfortable with autotuning, AI music, and so on — though I’d love it if there was a bit more push back on this kind of thing.”

Morvan has plenty of thoughts on the state of the music industry past and present. He welcomes the change in perspective, and while he doesn’t live in regret, looking back, he would give his younger self a little advice.

“Keep working on your craft now. No matter what, and don’t ever start drugs. And don’t let your buddy Rob start with that. With those two, things would have been different.”

When the Los Angeles Tribune editorial staff selected “Girl You Know It’s True” as its movie of the year, Morvan met Parisa Rose, his co-writer and executive producer for the recording of the memoir. Rose, a first-time author and mother of two, first met Morvan when she interviewed him for the quirky paper — now in its fourth revival. She is now chief operating officer of the Tribune, which has expanded to include a publishing house.

Rose, who grew up in Pasadena, helped Morvan reckon with parts of his background he had long buried. One of the most compelling parts of the memoir is when he breaks the fourth wall, narrating letters to individuals from his past.

“You need to say everything you have never said before to them that you’ve always wanted to say,” she says of the exercise they conducted for the interludes. “You need to know that this is the last conversation you will ever have with them. And you need to imagine they are sitting across from you now.” Reached over the phone, Rose said she also helped with research, uncovering details on the seaside sanatorium in France where Morvan spent much of his early childhood.

A great part of Morvan’s motivation for the memoir was to leave a legacy for his kids. His oldest son is getting into music and recently found an old Milli Vanilli vinyl and plays it along with Daft Punk and Michael Jackson. Remaining “zen” about the idea of winning, he’s enjoying the moment. And the big dreams never die. He plans to tour in the next year and come back to perform in America. And who knows? Maybe one day he can play Coachella.

He’s particularly thrilled over his Grammy outfit, a collaboration with Spanish designer Helen López, whom he previously worked with on a Milli Vanilli-inspired line. “When you’ll see what I’m wearing … you’ll see that I don’t play,” he says with a twinkle in his eye. “No matter what the outcome in life, you have to just be, be in the moment. Enjoy the moment. Whatever happens will lead you to something else. I have no expectations.”

The ICE officers descended on Compton, targeting immigrants convicted of theft, child abuse and selling drugs.

There were no protesters. No whistles alerting targets to the officers’ presence. No face masks. In some cases, residents opened their doors to let the officers inside their homes. One man thanked them for not arresting him in front of his children.

The Los Angeles area operation ended with 162 arrests, including a Mexican national convicted of rape and a Salvadoran national convicted of voluntary manslaughter. Immigration and Customs Enforcement said almost 90% of the people arrested had criminal convictions.

It was June 2018, more than a year into Donald Trump’s first term as president. More than seven years later, carrying out the same operation in L.A. or other U.S. cities feels almost impossible without drawing angry crowds and requiring multiple officers, at times across federal agencies, to detain a single target.

In the years since Trump’s first term, ICE and the government’s immigration enforcement apparatus expanded raids well beyond those against known criminals or suspected ones. Increasingly, immigrants with no criminal records and even legal residents and U.S. citizens found themselves stopped and sometimes arrested.

The uncertainty over who is being targeted has fueled a growing pattern of community protests and rapid response mobilizations, even when officials say they are targeting convicted felons, reflecting a widening gap between how enforcement is described and how it is experienced. That gap has become most visible on the ground.

In recent months, sightings of ICE or other federal agents have drawn crowds of protesters, legal observers and community organizers. In many cases, residents say they can’t distinguish between targeted enforcement actions — against child molesters, human smugglers and other serious criminals — and broader sweeps, responding instead to the mere presence of agents whose role and authority are no longer clearly understood.

Experts say the Trump administration’s hostile rhetoric against immigrants and often seemingly indiscriminate targeting of people in neighborhoods has hurt the reputation of its immigration enforcement agencies, including ICE and Border Patrol, like never before. And it has inspired a mass movement of resistance that has seen Americans shot by federal immigration officers. In the last month, two U.S. citizens — Renee Nicole Good and Alex Jeffrey Pretti — were shot dead by ICE and Border Patrol agents in Minneapolis.

The fatal shootings forced Trump to recalibrate his immigration enforcement tactics, in part by sidelining Border Patrol Cmdr. Gregory Bovino, who first launched the aggressive raids in California, and putting border policy advisor Tom Homan in charge.

“I’m not here because the federal government has carried out this mission perfectly,” Homan said during a Thursday news conference. “Nothing’s ever perfect, and anything can be improved on. And what we’ve been working on is making this operation safer, more efficient, by the book.”

He said street operations in Minnesota would “draw down” if the agents were given access to local jails and that agents would focus on specific targets.

“We will conduct targeted enforcement operations — targeted,” he added. “That has traditionally been the case and that’s what we’re going to continue to do and improve upon that with the priority on public safety threats.”

An internal memo reviewed by Reuters showed ICE officers operating in the state were directed to avoid engaging with “agitators” and only target “aliens with a criminal history.”

Even if the Trump administration were to pull back ICE and Border Patrol’s aggressive tactics to focus more on known criminals, experts question whether too much damage has been done to their reputations.

“The brand of the agency is becoming so toxic,” said John Sandweg, who headed ICE under President Obama. “It’s going to impact the agency for years to come. It’s going to take a long time for that trust to rebuild.”

Another former ICE official, who asked not to be named out of fear of retaliation, said the agency used to be able to say it was focused on criminals and wasn’t conducting random sweeps.

“For years we always said, ‘We don’t have the resources to go after everybody, so we’re going to focus on just the worst of the worst,’” he said. “They can’t say that now. They’re still trying to do that, but it’s getting overshadowed by Home Depot and car washes and all this other stuff and Border Patrol’s heavy-handed tactics. Now it’s leading to shootings and all these other things. It’s just horrible.”

In Willowbrook, an unincorporated neighborhood nestled in South L.A., just blocks from Compton city limits, federal agents found themselves locked between angry crowds recording them last week. Two people held a sign that read: “ICE / Soldiers off our streets.”

The agents were there to arrest a man they say had been “involved in human trafficking” and had a final removal order. They alleged the man had two prior arrests for domestic violence. Homeland Security officials later said the man used his vehicle to ram federal agent vehicles in an attempt to evade arrest, prompting an agent to open fire.

But as news spread that the operation was targeting a suspected criminal living in the country illegally, most residents shrugged it off. They said federal officials had made false claims against other people they had arrested or shot at, including labeling Good and Pretti as domestic terrorists.

“They’ve shown us that they’re not trustworthy,” Rosa Enriquez, 39, said while holding a Mexican flag.

Similar scenes have played out across the country. This month, a journalist posted a video of agents — who she identified as working for ICE — calling out a driver for honking during an operation St. Paul, Minn.

“We’re here to arrest a child sex offender and you guys are out here honking,” the agent said. “That’s who you guys are protecting. Insane.”

“Just go. You’re lying!” a woman shouts.

Homeland Security has made it a point to tout the arrests of criminals across the country. The “worst of the worst arrests” in L.A. this month, according to the agency, included a man convicted of second-degree murder, another for voluntary manslaughter and one with multiple convictions for driving under the influence and disorderly conduct.

“We will not let rioters or agitators slow us down from removing murderers, rapists, pedophiles, gang members, and terrorists,” Homeland Security spokesperson Tricia McLaughlin said in a statement.

But experts say the general public has clearly witnessed a shift in who is being targeted.

In May, White House Deputy Chief of Staff Stephen Miller reportedly directed top ICE officials to go beyond target lists and have agents make arrests at Home Depot or 7-Eleven convenience stores as they sought to crank up their daily arrest numbers to 3,000.

The following month, Border Patrol agents led by Bovino were on the ground in L.A., tackling car wash workers, arresting street vendors and chasing down day laborers.

“The pressure of those numbers on enforcement agencies and mobilizing the whole of government and other law enforcement agencies, well beyond the traditional ICE and CBP, has created pressures that have led to extensive overreach,” said Doris Meissner, a senior fellow at the Migration Policy Institute, a nonpartisan think tank in Washington. Customs and Border Protection, or CBP, is the agency that includes ICE and Border Patrol.

At the peak of arrests in L.A in June, around 75% of people had no criminal conviction. A Times analysis found that in the administration’s first nine months, from Jan. 1 to Oct. 15, of the more than 10,000 Los Angeles residents who were arrested in immigration operations, about 45% had a criminal conviction and an additional 14% had pending charges.

In November the Cato Institute, a libertarian think tank, reported that, nationwide, 5% of detainees from Oct. 1 to Nov. 15 had been convicted of violent crimes. Most detainees with convictions were found guilty of vice, immigration or traffic infractions.

“They’ve painted to the American people that they were going after the worst of the worst, and that is nothing like what is happening,” said Assemblymember Mike A. Gipson (D-Carson), who represents the district where the recent shooting in L.A. unfolded. “We have seen all across America where they have harassed, they have murdered, assassinated not only citizens but also people who have not had any arrest, who have not fit the bill or the description of what they have painted to the American people.

“When you turn on the news right now, the trust is absolutely gone. We don’t trust the White House, we don’t trust ICE, and the people are afraid because the trust is gone.”

Santa Maria Councilmember Gloria Soto echoed that sentiment, in part because she has seen raids in her Central Coast town.

“That’s part of the frustration,” Soto said. “There’s no transparency. There’s no information being shared before or after these enforcements have taken place.”

“We know for a fact that there are individuals who are getting picked up who did not have a criminal record, whose only quote-unquote crime was, you know, either having an expired visa, or crossing without the required immigration documentation that is needed, so it makes it really difficult for us, for me as an elected official, to trust what this agency is doing because so far there is no communication,” she said.

The challenges ICE officers are facing appear to center on cities that have been targeted with surge operations — like in Minneapolis, Sandweg said. Across the country, he said, officers are conducting operations “but not with the same amount of controversy.”

“In Minneapolis we’re at the point now when, if agents are going to go after someone with a very serious violent criminal history, they’re likely to pick up observers and a lot of attention,” he said. “The way in which they wanted to do these operations in such an overt, in-your-face kind of fashion, has created a dynamic that makes it really hard for the agents to execute their duties. … You have these protests following the agents everywhere they go.”

While there has always been consternation over immigration enforcement, Sandweg said that “the widespread tactics and the targeting of people with no criminal record just really galvanized people in a way they’ve never been galvanized before.”

“To where now it probably is starting to bleed into and impeding operations that most of those protesters are probably not opposed to — the idea of ICE getting someone with a violent criminal history off the streets,” he said. “I think it’s created an environment where it puts the officers and the public in harm’s way.”

This week, protesters came out in force when word spread that ICE officers were eating at a restaurant in Lynwood. A video shows the crowd jeering at the officers as they’re being escorted out of the area by Los Angeles County sheriff’s deputies.

Almost immediately, Lynwood City Councilmember Luis Gerardo Cuellar posted a video on Instagram to inform the public.

“This was not ICE, these were … TSA air marshals.”

For years at CNN, Don Lemon had been a thorn in the side of President Trump, frequently taking him to task during his first term over his comments about immigrants and other matters.

On Friday, the former CNN anchor — now an independent journalist who hosts his own YouTube show — was in a Los Angeles federal courtroom and charged with conspiracy and interfering with the First Amendment rights of worshippers during the Jan. 18 protest at the Cities Church in St. Paul.

Lemon was arrested by federal agents in Los Angeles on Friday, along with a second journalist and two of the participants in the protest of the federal government’s immigration enforcement tactics in Minneapolis.

Lemon identified himself at the protest as a journalist. His attorney said in a statement Lemon’s work was “constitutionally protected.”

“I have spent my entire career covering the news,” Lemon told reporters after he was released on his own recognizance Friday afternoon. “I will not stop now. There is no more important time than right now, this very moment, for a free and independent media that shines a light on the truth and holds those in power accountable. Again, I will not stop now. I will not stop, ever.”

The scene of a reporter standing before a judge and facing federal charges for doing his job once seemed unimaginable in the U.S.

The arrest marked an extraordinary escalation in the Trump administration’s frayed relations with the news media and journalists.

Earlier this month, the FBI seized the devices of Washington Post reporter Hannah Natanson in a pre-dawn raid as part of an investigation into a contractor who has been charged with sharing classified information. Such a seizure is a very rare occurrence in the U.S.

Last spring, the Associated Press was banned from the White House. The AP sued White House press secretary Karoline Leavitt and two other administration officials, demanding reinstatement.

Even the Committee to Protect Journalists, an organization that monitors and honors reporters imprisoned by authoritarian government regimes overseas, felt compelled to weigh in on Lemon’s arrest.

“As an international organization, we know that the treatment of journalists is a leading indicator of the condition of a country’s democracy,” CPJ CEO Jodie Ginsberg said in a statement. “These arrests are just the latest in a string of egregious and escalating threats to the press in the United States — and an attack on people’s right to know.”

For Lemon, 59, it’s another chapter in a career that has undergone a major reinvention in the last 10 years, largely due to his harsh takes on Trump and the boundary-pushing moves of his administration. His journey has been fraught, occasionally making him the center of the stories he covers.

“He has a finely honed sense of what people are talking about and where the action is, and he heads straight for it in a good way,” said Jonathan Wald, a veteran TV producer who has worked with Lemon over the years.

A Louisiana native, Lemon began his career in local TV news, working at the Fox-owned station in New York and then NBC’s WMAQ in Chicago where he got into trouble with management. Robert Feder, a longtime media columnist in Chicago, recalled how Lemon was suspended by his station for refusing to cover a crime story which he felt was beneath him.

“A memorable headline from that era was ‘Lemon in Hot Water,’ ” Feder said.

But Lemon’s good looks and smooth delivery helped him move to CNN in 2006, where his work was not always well-received. He took over the prime time program “CNN Tonight” in 2014 and became part of the network’s almost obsessive coverage of the missing Malaysian Airlines Flight 370. (Lemon was ridiculed for asking an aviation analyst if the plane might have been sucked into a black hole).

Like a number of other TV journalists, Lemon found his voice after Trump’s ascension to the White House. He injected more commentary into “CNN Tonight,” calling Trump a racist after the president made a remark in the Oval Office about immigrants coming from “shit hole countries” to the U.S.

After George Floyd was murdered by a police officer in Minneapolis in May 2020, Lemon’s status as the lone Black prime time anchor on cable news made his program a gathering place for the national discussion about race. His ratings surged, giving CNN its largest 10 p.m. audience in history with 2.4 million viewers that month.

Lemon’s candid talk about race relations and criticism of Trump made him a target of the president’s social media missives. In a 2020 interview, Lemon told the Times that he had to learn to live with threats on his life from Trump supporters.

“It’s garnered me a lot of enemies,” he said. “A lot of them in person as well. I have to watch my back over it.”

Lemon never let up, but CNN management had other ideas. After Warner Bros. Discovery took control of CNN in 2022, Chief Executive David Zaslav said the network had moved too far to the political left in its coverage and called for more representation of conservative voices.

Following the takeover, Lemon was moved out of prime time and onto a new morning program — a format where CNN has never been successful over its four decade-plus history.

Lemon’s “CNN Tonight” program was built around his scripted commentaries and like-minded guests. Delivering off-the-cuff banter in reaction to news of the moment — a requirement for morning TV news — was not his strong suit.

Lemon had a poor relationship with his co-anchors Poppy Harlow and Kaitlin Collins. The tensions came to a head in Feb. 2023 after an ill-advised remark he made about then Republican presidential contender Nikki Haley.

Lemon attempted to critique Haley’s statements that political leaders over the age of 75 should undergo competency testing.

“All the talk about age makes me uncomfortable — I think it’s a wrong road to go down,” Lemon began. “She says politicians, or something, are not in their prime. Nikki Haley isn’t in her prime — sorry — when a woman is considered to be in her prime in her 20s and 30s, maybe 40s.”

Harlow quickly interjected, repeatedly asking Lemon a couple of times, “Prime for what?” Lemon told his female co-anchors to “Google it.” It was one of several sexist remarks he made on the program.

Lemon was pulled from the air and forced to apologize to colleagues, some of whom had called for his dismissal. He was fired in April 2023 on the same day Fox News removed Tucker Carlson .

Lemon was paid out his lucrative CNN contract and went on to become one of the first traditional TV journalists to go independent and produce his own program for distribution on social media platforms.

“Others might have cowered or taken time to regroup and figure out what they should do,” said Wald. “He had little choice but to toil ahead.”

Lemon first signed with X in 2024 to distribute his program as the platform made a push into longer form video. The business relationship ended shortly after new X owner Elon Musk sat down for an interview with Lemon.

Musk agreed to the high-profile chat with no restrictions, but was unhappy with the line of questioning. “His approach was basically ‘CNN but on social media,’ which doesn’t work, as evidenced by the fact that CNN is dying,” Musk wrote.

An unfazed Lemon forged ahead and made his daily program available on YouTube, where it has 1.3 million subscribers, and other platforms. He has a small staff that handles production and online audience engagement. In addition to ad revenue from YouTube, the program has signed its own sponsors.

While legacy media outlets have become more conscious of running afoul of Trump, who has threatened the broadcast TV licenses of networks that make him unhappy with their coverage, independent journalists such as Lemon and his former CNN colleague Jim Acosta, have doubled down in their aggressive analysis of the administration.

Friends describe Lemon as relentless, channeling every attempt to hold him back into motivation to push harder. “You tell him ‘you can’t do it,’ he just wants to do it more,” said one close associate.

Wald said independent conservative journalists should be wary of Lemon’s arrest.

“If I’m a conservative blogger, influencer, or YouTube creator type, I would be worried that when the administration changes, they can be next,” Wald said. “So people should be careful what they wish for here.”

On Thursday night, the Palisades High boys’ basketball team savored something it had not experienced since midway through last season: homecourt advantage.

Hosting a game inside their own gym for the first time in 388 days, the Dolphins did not let their fans or their classmates leave disappointed, beating Fairfax 75-28 to stay on track for their first outright league title in 30 years.

“It’s great to be back … it was cool,” junior center Julian Cunningham said. “We haven’t had a game here in over a year. There’s no way we were gonna lose. It was a great atmosphere and we beat ’em by 50, so that’s pretty good.”

Palisades’ boys had last taken their home floor for an official contest on Jan. 6, 2025 — one day before the Palisades fire broke out and dealt severe damage to their campus and community. First-year coach Jeff Bryant had to scramble to find someplace — anyplace — to practice for what would turn out to be 42 games.

“I never thought it would be this long,” Bryant admitted. “When the fire happened, I was thinking we’d have some access to our gym in the summer. I remember at a parent meeting saying we’ll 100% be playing our league games at home. When the new [school year] started we were told September, then October, then November, then the start of the second semester. It kept getting pushed back.”

The team held its first practice at Palisades on Monday and students returned to campus Tuesday morning after attending classes for nine months at what came to be known as “PaliHi South,” the old Sears department store building in nearby Santa Monica.

“UCLA, Memorial Park, Paul Revere, St. Bernard …” Bryant said, rattling off just a few of the sites his team practiced at while waiting for the green light to return to campus. “We’ve been road warriors for over a year now and I definitely think it’s been an advantage, but now we’re looking forward to being home and we’re going to feed off that energy starting tonight.”

Pacing the Dolphins on Thursday were 6-6 junior twins OJ and EJ Popoola, who got the home crowd cheering by combining for six dunks. They were raised in Las Vegas and transferred to Palisades in June. Two of the most highly touted prospects in the 2027 class, the brothers shined in their first game at their new school, scoring 19 and 16 points, respectively.

“It was amazing — I’ve been thinking about this game for so long,” said OJ, who had 10 points in the first quarter as Palisades stormed to a 45-14 halftime lead. “Even though we weren’t here last year, we feel like it’s our community too. EJ and I have been playing with each other for so long and I wouldn’t want it any other way.”

EJ Popoola is averaging 21 points per game, OJ Popoola is averaging 18 and junior Jack Levey, the most outstanding player in the Western League last winter, is the section’s most dangerous long-range shooter, averaging 45% from beyond the arc.

Another reason Palisades is one of the favorites to win the Open Division is the all-around play of freshman guard Phillip Reed, who is averaging 17 points, six assists and six rebounds.

“It felt surreal — I was really nervous,” EJ Popoola added. “The energy was there, the fans showed up and we’re finally finding our rhythm as a team. It’s a work in progress, but me and OJ have been through it all together and I thank God I’m a twin!”

AJ Neale scored 13 points and Reed added 10 for the Dolphins, who scored 10 seconds into the contest on Levey’s alley-oop to EJ Popoola and never trailed.

Guards Kameron Augustin and Jomari Marshall scored seven apiece for the Lions (15-8, 5-2).

Palisades went 12-7 in its last 19 games of 2024-25, falling to Chatsworth in the City Section Open Division semifinals before reaching the Division III regional semifinals (hosting three games at Birmingham High in Lake Balboa). The Dolphins are off to a 13-11 start in 2025-26 while playing the toughest schedule of any team in the City. They have grown accustomed to playing in hostile environments and hope their “us against the world” mentality works in their favor once the playoffs start.

Thursday’s win kept the Dolphins alone atop the Western League standings at 8-0, 2½ games ahead of Fairfax with only four left. If Palisades seals the deal, it will mark the program’s first league crown since it finished in a three-way tie for first place with Westchester and Fairfax in 2011-12 under then coach James Paleno.

What a difference a year makes. Westchester, which beat Palisades twice on its way to winning league and capturing the City Open Division title last February, is fifth in league at 4-5 and lost its first meeting with Palisades by 38 points.

“The environment was amazing and I was a little stiff on my shots for the first 20 minutes or so, but after that I was feeling it,” said Levey, who swished two of his team’s 10 three-pointers. “This was personal. We can’t lose our first game back. Winning City is the standard, but [state] is what we really want to win.”

Palisades lost 10 of its first 13 games, including six straight while several key players recovered from injuries — but Bryant never lost faith. “That losing streak strengthened us,” he said. “I could’ve lost the team. Instead, guys stuck to the plan. Now we’re trending in the right direction. We haven’t played our best game yet. Our biggest challenge is what’s next.”

Through this ordeal, Bryant has learned patience and perseverance.

“The hardest part has been communicating with the parents,” Bryant said. “You have to go with the flow. They want answers and sometimes you honestly don’t know. When games are canceled, it hurts the younger kids most because lower-level games aren’t going to be made up. So they really miss out.”

The Popoola twins are motivated to lead Palisades to its first undisputed league championship since their father, Chris, helped the Dolphins to a third consecutive Western League title in 1995-1996. One of Popoola’s teammates that year was Donzell Hayes, who piloted the program from 2016-23 and attended Thursday’s game.

Palisades is chasing its third City title and first since winning Division I in 2020. Chris Marlowe, who captained the USA volleyball team to the gold medal at the 1984 Summer Olympics, led the Dolphins to a 21-1 record and the City Section basketball championship in 1969, beating Reseda in the final at Pauley Pavilion under the program’s first coach, Jerry Marvin.

New research shows people return to their favourite holiday destination an average of six times

More than a quarter of holidaymakers revisit the same destination every year, or every other year, with a feeling of safety, familiarity, and emotional connection driving the trend, new research reveals. A study of 2,000 adults found that people who enjoy repeat visits return to the same place an average of six times. Nearly one in five (18%) have visited their favourite spot between six and 20 times.

The findings come from the 2026 Trends Report by Neilson Beach Clubs, which has seen a clear rise in repeat bookings, with seven in 10 guests returning year on year to their resorts.

More than half of holidaymakers go back to the same destination because they love what it has to offer, 15% also prefer to stick to what they know.

Meanwhile, 29% feel confident in the location’s safety and another 29% return regularly after developing a strong emotional connection with the place.

David Taylor, CEO for the travel provider, commented on the trend: “We all look forward to our holiday escapes so much that when you’ve found something you love that delivers a great experience, it’s natural to return again with confidence that the holiday won’t disappoint.”

The research suggests the appeal of a familiar destination is even stronger for families. More than a quarter (26%) of all respondents said they often revisit the same place because it is easier to plan, and one in 20 parents admitted that visiting somewhere unfamiliar with children can be stressful.

The study also highlighted a significant shift in holiday habits, with a growing interest in active getaways.

Over half (52%) of those who currently exercise on holiday would consider booking a fitness-focused trip to improve their physical health—a rise from 33% last year.

While 67% still seek a more relaxing vacation, nearly one in four (24%) say a fitness element brings just as much enjoyment.

The desire to disconnect from daily life is a priority, with 67% of respondents saying taking a break from technology is important for them when they are away.

For many, exercise is seen as a way of reducing stress (42%) and helping to rejuvenate the body and mind (37%).

David Taylor added: “We feel that it’s easier to switch off by switching on, if your mind is busy getting your body to do something you love, you can truly switch off mentally.”

WASHINGTON — A federal judge has refused to order the pretrial release of a man charged with placing two pipe bombs near the national headquarters of the Democratic and Republican parties on the eve of a mob’s Jan. 6, 2021, attack on the U.S. Capitol.

U.S. District Judge Amir Ali ruled on Thursday that Brian J. Cole Jr. must remain in jail while awaiting trial. Ali upheld a decision by U.S. Magistrate Judge Matthew Sharbaugh, who ruled on Jan. 2 that no conditions of release can reasonably protect the public from the danger that Cole allegedly poses.

Cole, 30, pleaded not guilty to making and planting two pipe bombs outside the Republican National Committee and the Democratic National Committee headquarters in Washington, D.C., on the night of Jan. 5, 2021.

Cole, who lived with his parents in Woodbridge, Virginia, has been diagnosed with autism and obsessive-compulsive disorder. His attorneys say he has no criminal record.

Cole has remained jailed since his Dec. 4 arrest. Authorities said they used phone records and other evidence to identify him as a suspect in a crime that confounded the FBI for over four years.

Prosecutors said Cole confessed to trying to carry out “an extraordinary act of political violence.” Cole told investigators that he was unhappy with how leaders of both political parties responded to “questions” about the 2020 presidential election — and said “something just snapped,” according to prosecutors.

“While the defendant may have reached a psychological breaking point, his crimes were anything but impulsive,” they wrote. “Indeed, the defendant’s pipe bombs — and the fear and terror they instilled in the general public — were the product of weeks of premeditation and planning.”

Defense attorneys asked for Cole to be freed from jail and placed on home detention with electronic monitoring. They say a defense expert concluded that the devices found near the RNC and DNC headquarters were not viable explosive devices.

“In fact, there was no possibility of death, injury or destruction as the devices were harmless,” they wrote.

If convicted of both charges against him, Cole faces up to 10 years of imprisonment on one charge and up to 20 years of imprisonment on a second charge that also carries a five-year mandatory minimum prison sentence.

Kunzelman writes for the Associated Press.

As is always the case, the Grammys this year will be dominated by pop, rap, country and rock. But the best races often lie in the less mainstream genres. Take best jazz vocal album, where Samara Joy, Dee Dee Bridgewater and Bill Charlap, Michael Mayo, Terri Lyne Carrington and Christie Dashiell and Nicole Zuraitis are competing for the honor.

The highly impressive group reflects the current state of jazz, where both young guns and veterans are combining to bring the music to a new swell of fans. To talk about the present state of jazz, The Times brought together 26-year-old Joy and 75-year-old Bridgewater. What followed is an incredible conversation on politics, race, equality and mutual fandom.

You both have had Grammy success. But is it still just as thrilling to be nominated?

Dee Dee Bridgewater: I can speak on that because I haven’t been nominated in years. And yeah, it’s a thrill when you’re nominated and you haven’t been and you’ve done something that your peers think is Grammy worthy. I don’t know about Samara, but for me, I don’t do any of my recorded projects with the intention of getting a Grammy nomination, which seems to be the goal of a lot of younger artists. So that me doing something that I just was trying to chronicle and because of this work that Bill and I have been doing off and on for the last few years, it’s like the icing on the cake. It’s wonderful.

Samara Joy: Agreed, when I say I’m just grateful to be here, like in this space, being able to talk about this in this way, I mean it. It wasn’t the intention behind making the music that I love to make with the people I love to make it with. And when kids come up to me and they say, “Because of you, now my goal is to be a Grammy winner.” I’m like, “You’ve already strayed way off course. We need to come back.” And realize that the accolades and the awards and the acknowledgment is beautiful because it’s coming from your peers and we’re celebrating each other. It’s amazing, it’s exciting, it’s wonderful. I’m grateful for it. But at the same time, the other 364 days of the year, we’re working and we’re touring and we’re performing because we love it. And it’s with the intention of seeing what else we can learn and express and finding new ways to do that. I’m grateful to be in the conversation, but also I’m using it even more as an opportunity to thank the people who support us and who listen to the music and who come to the concerts to say that that’s what I love. So, the fact that people have connected with it enough to acknowledge it on such a high level is amazing, but the love of it never goes away.

Bridgewater: Yes, I agree with that, Samara. When I do my work, because I like to call myself an artist who flies under the radar, I’m basically out there trying to bring joy to people. With the music that I do, I try to change up the projects depending on what is going on in the world or depending on what I’m thinking about and feeling about society and just trying to make a connection with people and be a conduit for the people and speak through the songs, things that I think will bring them joy or get them to think about some things that they are not wanting to say out loud. So, that’s what I’m doing right now. Then with my music, what I’m trying to do is bring more attention to women in jazz. For the last few years, aside from my occasional concerts with Bill [Charlap], I have been working with women. I have created a band. I call it We Exist! We are doing socially conscious music, some protest songs, and that is what I’m taking around the world. Generally, people come up to me and say, “Thank you so much for saying these things for us. We need to hear this.” My concern at my older age, now that I’m in my golden years, is the state of society and the world and this political crisis that we are in. So, I’m trying to speak about this in a way that people can hear it without getting on some kind of political bandstand and speaking in that way. I think that the world is in danger politically and I think our democracy is in danger. That’s my concern and that’s what I’m trying to do through my music. Also, I want people to see more women in the jazz space, and I think as an elder it’s almost an obligation of mine to lead that front and present this and present this image. I get many women that come up and say, “Thank you so much for doing this for women.” So, that’s where my head is right now.

How exciting is it to see that, of the jazz vocal nominees, four of the five are women?

Bridgewater: Yeah, and isn’t that wonderful? But I can say this, for vocal jazz, it usually is women. This has been the place where we have been allowed to shine as vocalists. It’s been for many, many years, the only place where we’re allowed to shine. So, when you get female instrumentalists besides Terri Lyne [Carrington] because Terri Lyne broke through in a period of when there were not a lot of jazz drummers, so that she worked with Herbie [Hancock] and she worked with Wayne [Shorter]. They gave her a platform that most women are not granted. Of course, also, one has to be extremely talented. And Terri Lyne can stand beside any man and hold her own and outdo many men. That’s not the point. The point is that she had that opportunity. They gave her that opportunity and then she’s been able to pay it forward. But to see instrumentalists like Lakecia Benjamin who has really come to the forefront as an alto saxophonist and to see her get Grammy nominations, that’s something that, for me, is huge.

Samara, talk about what you’re seeing in the scene today in terms of gender disparity and overall vibe.

Joy: I’ve had the opportunity to play with some amazing ones. I went to the Vanguard a few weeks ago and sat in with [Christian] McBride and Savannah Harris was on drums. I played with Alexandra Ridout, who is an incredible trumpet player as well. Although I understand the disparity in the current time and throughout history, I also understand that I might be living through a privileged time where I just kind of see women around me everywhere. So, I don’t understand what it’s like to be without it on the scene. I can read about the fact that maybe at a time saxophone was taking precedence over jazz vocals or with each era, there’s a new focus. But I guess on the scene now I’m proud to be able to see all of these wonderful women composers and instrumentalists stepping to the forefront.

Both of you have made music that is very uplifting as well. In these difficult times, music is something that can lift the spirits and bring people together. For each of you talk about making music that uplifts because there are so many great jazz standards that have the point of lifting up the world.

Bridgewater: I’m here in town at Birdland with Bill Charlap and we are doing songs from the American Songbook primarily and Duke Ellington. It has nothing to do with anything that’s going on today, politically speaking. Last night was our first show and the audience just loved it. So, there is that side that one can take. And I’ve been very apolitical. It’s just since the two Trump administrations and the Gaza war that happened and some other things that I’ve seen going on outside of the United States that have really incensed me that I felt the need to speak out in the way that I am, you know. But it is wonderful to go to a show and have people come to see a show and be able to completely lose themselves and be outside of what is going on for that span of time that they are with the artists. For the other side, when I do these socially conscious songs, people come and say, “Oh my God, thank you. I needed to hear that. I needed to hear someone.” Because my point at the end of my show is I say, “We the people have the power, we can’t forget that. We are the people that can motivate the change and protect our democracy because we see democracy being chipped away around the world.” I grew up in an era where there was a distinct difference between Black and white and I was not able to be served when I would go to sit at a lunch counter as a little Black girl. So, I’ve experienced both sides. My awareness is different than Samara’s and I feel the alarms. The alarm bells are just ringing for me. But when I come back and I do a show with Bill, sometimes it’s difficult for me to get into these sweet, innocent songs because they don’t have the gravitas that I’m experiencing doing a Nina Simone song like “Mississippi Goddam.” For me, artistically speaking, it’s been interesting to find a balance. Samara, you do these beautiful songs with that stunning voice of yours. Your take is totally different. And you’ve grown up in another era.

Joy: This is the first time in my life that I have not only been aware of what’s happening in the world but also feel compelled. Like, I have a responsibility to do something about it because I’ve never been so aware of what is happening around me as I am right now. I don’t know if that’s a good thing or bad thing but I just feel like, ”OK, I’m an adult and this is the world that I live in and I have a responsibility as one of the people living in this world to not only do something about it right now but do something for the next generation of people who are going to have to live in the world that results in what we do right now.” It’s scary. I don’t know how people do it, especially because it’s not as difficult right now. It’s not as difficult for me to say something that might have been for an Abbey Lincoln or Nina Simone or whoever. I’m also living in a sort of luxury in that way that I don’t have to speak out and be the only one who is doing so and then be proven right later. In that way, I’m like, “I have to because of all these women who have gone before me, who made that difference and who stood and didn’t get appreciated or thanked for it in the moment, have made it so that the world that I live in now, as crazy as it is, I’m able to have a platform in the first place and be able to lead some sort of charge — or at least spread some sort of message so that the world that we’re building for the ones who come later. It’s not just about me right now, it’s all interconnected.” It feels a little heavy, a little scary. I’m still trying to figure out where my voice fits.

Bridgewater: You know what, honey, I get that. When I was your age, I honestly was not at all concerned about politics and what was going on. I was concerned about my Blackness because I’ve experienced our people being named four different times. When I was a little girl, I was colored, then I was Negro, and when they said Black, I was incensed because your hair is black. Our skin is brown. But I understand where you’re coming from because you are coming up in a different time. And you are just beginning to navigate all of the politics, so you’re going to probably go through a similar kind of thing that I went through when I was young, and I concentrated on just writing my music and things that spoke to me. You’re fine where you are and you’re going to learn to navigate all of this in time and what I would hope for you is that you don’t feel a weight. We’re all going to feel this heaviness because of the situation that we’re in but as an artist, I want you to feel free to discover and do the things that you feel in your spirit and not feel led to do something because it’s what’s going on around you. You’ve got to continue to stay true to yourself, which you’ve been doing, which is wonderful. I’m at a different stage in my life. I’m in the last quarter of my life. I’m 75 and I’ve been through all of this stuff. I feel like I’m at a place where if I want to say something instead of not like I’ve done in the past, I’m going to speak my mind. I want to say this to Samara and I’ve said this to her before. But I am so proud of you and what you are doing. And you have a voice that the gods have blessed you with, Samara. At my age to be in the same space with you for the Grammys, I am so tickled. I love you so dearly. I truly do, and you know that. The times that we’ve been on stage together, it’s been wonderful for me. I want you to know that there are people who are your elders who, besides loving you like we do, we depend on you, Samara. You have been able to enter the space and bring jazz to the world in a way that we were not.

Joy: I love you too. I’m sitting here thinking about one of the first times I got the chance to see you perform at Blue Note. I was there with my professor at the time. I was so nervous, but I’m so honored to know you. I’m so honored to have loved you from afar and now get the chance to love you up close and honor you and appreciate you and shower you just as you have showered me.

If you were going to do one song together at the Grammys, what would you want to do?

Joy: “I Wish I Knew How it Would Feel to be Free,” [Nina Simone].

Bridgewater: That’s in my repertoire. I do that. That would be a great one, Samara. I’m on board. We would tear it up.

Los Angeles police solved more than two thirds of all homicides citywide in 2025, a year that ended with the fewest number of slayings in six decades, according to statistics presented by local authorities on Thursday.

Of the 230 homicides logged in areas patrolled by the LAPD, officials said that 156, or 68%, were considered solved. By the department’s definition, a homicide can be “cleared” through an arrest or other factors, including if the killing was deemed legally justified or the suspect dies. Whether the case results in criminal charges or a conviction is not part of the department’s methodology.

Factoring in the 78 homicides from past years that were solved in 2025, the clearance rate rose to 101%, officials said.

LAPD Chief Jim McDonnell said the department’s success in solving homicides was the result of more data-driven actions against the relatively small number of individuals responsible for an outsize proportion of violent crimes, as well as collaboration with federal law enforcement and other agencies.

McDonnell pointed to an 8% reduction in the number of gunshot victims citywide, a decline he attributed to a significant increase in the number of guns seized by police. In 2025, LAPD officials recovered 8,650 firearms, 1,000 more than the previous year, he said. Gang killings still account for most of the city’s homicides, but are far below where they were in years past, officials said.

The chief said police need to remain diligent since “every life lost was one too many.” The trends for other categories of violent crime were a “mixed bag,” he said, and concerns about property crimes such as burglary and vehicle thefts remain ongoing.

He said that the declining numbers were proof that a depleted department, stretched thin by low recruitment numbers and recent protests and wildfires, was still performing admirably. At the same time, he acknowledged that the decline was likely also the result of other factors that govern the ebb and flow of crime.

Historically, experts have cast a skeptical eye on police-driven explanations for clearance rates, arguing that community attitudes and behaviors, prosecutors’ thresholds for filing homicide charges, and other variables may have more to do with solving homicides more than any particular law enforcement model.

The homicide tally marked the city’s lowest total since 1966, when the city’s population was nearly a third smaller. The downturn mirrors precipitous drops in many other large cities nationwide last year — and has sparked a range of theories about what’s going on.

For those who view violent crime as a public health issue, the steep decrease is rooted in powerful social forces that are far beyond the control of law enforcement. Those factors include the return of social services that declined during the pandemic, and fatigue from decades of bloodshed.

Still others say it’s simply a matter of numbers: with lighter caseloads, homicide detectives have more time to thoroughly investigate each new killing.

Sal Labarbera, a former supervisor of detectives in South Bureau homicide, called the citywide solve rates a “beautiful” achievement.

“This is how it’s supposed to be. When murders are down, reinforce the teams and solve the older cases. In the past, when homicides were down, they sometimes took detectives away from homicide investigations,” he said. “It’s especially extraordinary considering the number of sworn officers are decreasing.”

According to statistics maintained by the state Department of Justice, homicide clearance rates statewide have hovered around 60% over the past decade, with a high of 64.6% in 2019 and a low of 54.5% in 2021. In Los Angeles, the percentage of slayings that have been solved rose slightly from 2024, but was down from the 79.9% clearance rate that the department achieved in 2023.

The data presented at a news conference Thursday didn’t offer a breakdown of how last year’s solve rates differed geographically in the department’s 21 patrol areas.

Nicki Minaj, who revealed in 2018 that she was brought to the United States as an “illegal immigrant” from Trinidad and Tobago when she was 5 years old, flashed a Trump gold card Wednesday after an event formally launching the president’s IRA-style savings accounts for children. Her citizenship paperwork, she said on social media, was being finalized.

“Residency? Residency? The cope is coping. … Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President,” the “Bang Bang” rapper, 43, wrote Wednesday on X, including a photo of the Chucky character flipping his middle finger. “Thanks to the petition. … I wouldn’t have done it without you. Oh CitizenNIKA you are thee moment. Gold Trump card free of charge.”

That post mentioning the card, which delivers citizenship in the United States for those who pay $1 million, may have referred to multiple petitions arguing that the rapper — real name Onika Tanya Maraj-Petty — should be deported to Trinidad and Tobago, where she was born before being raised in Queens, N.Y. A previous post contained a photo of the gold card and the single word “Welp …”

“I came to this country as an illegal immigrant @ 5 years old,” the rapper wrote on Facebook in 2018, posting a photo from the first Trump administration’s “zero tolerance” period of immigration enforcement when migrant children were being separated from their migrant parents at the country’s southern border.

The photo showed children on padded floor mats with silver Mylar thermal blankets, walled in by chain-link fencing. “I can’t imagine the horror of being in a strange place & having my parents stripped away from me at the age of 5. This is so scary to me. Please stop this. Can you try to imagine the terror & panic these kids feel right now?”

In 2020, she said in a Rolling Stone interview that she thought Trump was “funny as hell” on “Celebrity Apprentice” but was bothered by the images of children taken from their parents.

“I was one of those immigrant children coming to America to flee poverty,” Minaj told the outlet. “And I couldn’t imagine a little child going through all of that, trying to get to another country because they didn’t have money in their country, or whether you’re fleeing from war … and then being taken away from the one person that makes you feel comfort. That is what really raised my eyebrows.”

At the time, she said she would not “jump on the Donald Trump bandwagon.”

But Minaj has since come around to support the president in his second term, even calling herself his “No. 1 fan” in remarks Wednesday. “And that’s not going to change,” she said.

“The hate or what people have to say, it does not affect me at all. It actually motivates me to support him more, and it’s going to motivate all of us to support him more,” Minaj said. “We’re not going to let them get away with bullying him and the smear campaigns. It’s not going to work, OK? He has a lot of force behind him, and God is protecting him.”

The president introduced her as “the greatest and most successful female rapper in history,” a title that’s accurate going by record sales and overall presence on the Billboard Hot 100. (Of course, Missy Elliott and Ms. Lauryn Hill might want to have a conversation.)

“I didn’t know Nicki, and I’ve been hearing over the years she’s a big Trump supporter, Trump fan,” POTUS continued. “And she took a little heat on occasion because her community isn’t necessarily a Trump fan.”

Trump said Minaj was among those stepping up, along with people including Dell Computers Chief Executive Michael S. Dell, and donating “hundreds of thousands of dollars” of her money to the new accounts. In addition to her generosity, POTUS was definitely a fan of Minaj’s long, painted, pointy pink manicure. He chuckled as he told the audience, “I’m going to let my nails grow, because I love those nails. I’m going to let those nails grow.”

In December, before Christmas, the rapper also appeared onstage with conservative activist Erika Kirk, widow of Charlie Kirk, who was slain in September at Utah Valley University. Minaj took the opportunity at the Phoenix conference of Kirk’s organization, Turning Point USA, to praise Trump and mock California Gov. Gavin Newsom.

Minaj, a Christian, praised Trump at the time for standing up for Christians being persecuted in Nigeria and elsewhere.

“I have the utmost respect and admiration for our president,” Minaj said. “I don’t know if he even knows this but he has given so many people hope that there is a chance to beat the bad guys and to win and to do it with your head held high.”

She also declared onstage that there was “nothing wrong with being a boy.”

“How about that?” she continued. “How powerful is that? How profound is that? Boys will be boys, and there is nothing wrong with that.”

Then Minaj read aloud some of her social media posts mocking Newsom, calling him “Newscum” and “Gavie-poo” and criticizing his advocacy on behalf of “trans kids.”

It’s not as if the “Starships” rapper hid the ball about being harsh when she said in 2023 that she was willing to “be cussing out” certain people at certain times.

“When I hear the word mean, I think about the core of who the person is,” she told Vogue. “I always tell people that the difference between being mean and being a bitch is that bitch passes. Bitch comes and goes. Mean is who you are. I could be the biggest bitch, at the height of my bitch-ness, but if the person I may be cussing out at that time needs something from me, I’m going to give it to them. I have to be able to look in the mirror and be OK with myself.”

Trump accounts for children, a new type of IRA for U.S. citizens who are younger than 18 on Dec. 31 of the year an account is opened, are part of the “Big Beautiful Bill” of tax breaks and spending cuts that was signed into law last summer.

For children born during the second Trump administration, calendar years 2025 through 2028, the accounts will be seeded with $1,000 from the U.S. Treasury when a parent submits a form to the IRS to open the account. Additional pre-tax contributions of up to $5,000 a year are allowed but not required, and a parent is the custodian of the account until the child turns 18. Withdrawals for education, housing or business will be taxed as ordinary income.

Minaj is married to Kenneth Petty — who served four years in prison after being convicted of attempted rape in New York in 1995 — and the couple has one son. Nicknamed “Papa Bear,” the tot was born in 2020, about five years too soon to qualify for that $1,000.

For years, Katie Uhlaender had a goal that few athletes even dare to dream — to compete in both the Winter and Summer Olympics.

An injury derailed that attempt. Now another dream appears to have been dashed for the daughter of former major league baseball player Ted Uhlaender — representing the United States in a record sixth consecutive Winter Olympics.

Team Canada was found to have manipulated the outcome of the Lake Placid North American Cup in early January. Uhlaender, 41, won the race in skeleton, but the manipulation kept her from getting the requisite points to qualify for the upcoming Milan Cortina Winter Games.

An investigation by the International Bobsleigh and Skeleton Federation (IBSF) found that Canada purposely withdrew four athletes from the competition, reducing the number of points that could be awarded and making it mathematically impossible for Uhlaender to earn enough points to qualify.

Why did Canada hold back four athletes from competing? Because it ensured that a second Canadian would qualify for the Olympics rather than Uhlaender.

Canadian skeleton athlete Madeline Parra admitted as much, telling The Canadian Press that her coaches “explained to us that it would be in the best interest for the way points had worked for [Canadian skeleton racer Jane Channell], so that we as a team can qualify two spots to the Olympics.”

Yet despite the IBSF finding that Canada breached its Code of Ethics, no action has been taken because IBSF rules also state that National Federations may withdraw athletes from competition at any time.

The IBSF said it will “possibly suggest adjustments to the rules” when its sport committee meets in the spring, but that doesn’t help Uhlaender. The Winter Olympics begin Feb. 6.

“This is about the integrity of sport and code of ethics that upholds sportsmanship, fair play, integrity, respect and community,” Uhlaender said in a post on X.

A petition by the U.S. Olympic and Paralympic Committee to the International Olympic Committee (IOC) to accept Uhlaender as a discretionary entry was supported by 12 other countries, but the request was denied. Discretionary Olympic spots are infrequent, but in 2023, fencer Olga Kharlan received a place at Paris 2024 from former IOC President Thomas Bach.

Uhlaender also felt a personal betrayal because she described Team Canada coach Joe Cecchini as a longtime friend and former fellow skeleton competitor. Cecchini called Uhlaender the night before the race to inform her that four Canadians were pulling out.

“I cried when I found out he went through with this plan,” Uhlaender said. “I didn’t know if it hurt more that my friend of 20 years just nailed my coffin, my Olympic dream is over. Or, that my best friend of 20 years is doing something so horrible that hurts so many people.”

Disappointment seems to haunt Uhlaender. In 2009, she shattered her kneecap in a snowmobiling accident and required eight surgeries, but she recovered in time to compete at the 2010 Vancouver Olympics.

She finished in 11th place in those Games, saying the death of her father in 2009 to cancer impacted her even more than recovering from the surgeries. Ted Uhlaender was considered one of the top center fielders in MLB from 1965-1972 for Minnesota, Cleveland and Cincinnati.

The injury ended her attempt to make the summer U.S. Olympic team as a weightlifter, a sport in which she had risen to a world-class level in the women’s 63-kilogram division. Uhlaender continued to dominate in skeleton, where a racer rides a small sled up to 80 mph head-first and face-down along a steep, banked ice track.

Although Uhlaender has not won an Olympics medal — coming closest with a fourth-place finish at the 2014 Sochi Games — she won the skeleton World Championship in 2012 and World Cup titles in 2007 and 2008.

The U.S. will send Kelly Curtis and Mystique Ro to the Milan Olympics in skeleton. Uhlaender’s last hope for a discretionary berth is an appeal to the Court of Arbitration for Sport. Should that fail, Uhlaender’s final Olympics impact might be a change in IBSF rules to prevent a recurrence of Canada’s scheme.

The IBSF alluded to the problem in its ruling that Canada was free to hold back its racers, regardless of motive: “The Canadian coach and the National Federation shall be reminded that, whilst acting within the letter of the IBSF Code of Conduct, it is expected that all parties concerned should also act within the spirit of the Code, whose aim is to promote fair play and ethical conduct at all times.”

CLEVELAND  — He hears it in nearly every arena the Lakers enter.

“We want Bronny. We want Bronny.”

But on Monday night in Cleveland’s Rocket Arena, where the familiar chant reached arena-filling decibels, it felt different. It felt like home.

Bronny James provided some of the few Lakers highlights in the team’s worst loss of the year — a 129-99 drubbing by the Cleveland Cavaliers on Monday — to turn an emotional homecoming for his father into a happy return for the 21-year-old. James scored eight points with two rebounds, an assist and a steal. He knocked down two three pointers and slammed a one-handed transition dunk to elicit a roar from the crowd that welcomed back a son they watched grow up.

“I was just excited to go out there and play,” James said. “I’m always ready to go out and play, whether that’s when the entire arena is saying ‘We want Bronny‘ or no one is. I was just really, really grateful that they put me in at that time and I was able to go out and get a few buckets.”

With the Lakers trailing by 20 by the third quarter, the chants for James started early. “We want Bronny” chants occur at nearly every Lakers game, almost turning the young guard’s playing time into a sideshow instead of much-needed opportunities for a developing player trying to find his footing in the NBA.

James hadn’t played in a game since Jan. 18 and hadn’t scored since Jan. 12. But he got on the scoreboard in thrilling fashion Wednesday night, tipping away a crosscourt pass and taking the ball in transition for a dunk that left even his dad nodding approval from the bench.

“He handles all of it so well,” said guard Gabe Vincent, who called Bronny “a light” in the Lakers’ otherwise forgettable blowout. “It’s incredible. His maturity through it all is incredible. … It’s great to see him have a moment like that.”

The former USC guard who also scored his first NBA points in Cleveland as a rookie last year has bounced between the Lakers and the team’s G League affiliate this year as he hopes to make strides as a shooter and on-ball defender while “building up his tolerance for being in elite shape,” coach JJ Redick said. James has had some promising moments, especially when the Lakers were short-handed earlier this season, showing quicker decision making and increased confidence shooting the ball.

Monday was just the second time in his career that he made two threes in a game.

“He’s as level headed and just as normal of a 21-year-old as I’ve ever been around,” Redick said.

When the Lakers got to the arena Monday, James was welcomed home by a childhood photo of him on a screen outside the visiting locker room. It showed him on stage in 2016 during the Cavaliers’ championship celebration wearing a championship hat and white T-shirt, holding up one finger.

LeBron James glanced at the championship banner from that team before the game Monday, fueling the intense emotions of what could be his last game in his hometown against the team that launched his NBA dreams in 2003.

The Cavaliers, wearing navy blue throwback uniforms, showed a tribute video for LeBron James during the first quarter, highlighting James’ takeover of Game 5 of the 2007 Eastern Conference Finals in which he scored 25 consecutive points. Bronny was 3 years old at the time. Almost two decades later, he remembered all the afternoons he spent at the Cavaliers arena after school.

“It’s literally my entire life,” Bronny said of the city of Cleveland. “So just really appreciative of all the people that show some love. I just remember being a kid and being here pretty much every day after school. It’s a bunch of nostalgia coming back and being here.”

The James family was prepared for the occasion. LeBron scanned the arena before the game to find his mother in a suite. She once watched him begin his career in this very arena, now she was watching both her son and her grandson play in the same game. After saying it out loud, the elder James struggled to process 5 idea.

“I don’t even know how to even, like, wrap that all in one in my brain,” LeBron James said. “It’s so weird and so cool and so surreal. My mom gets to watch her son and her grandson play in the NBA at the same time.”

Gloria James waited in the hallway outside the Lakers locker room to take photos with her son and then her grandson. Bronny was the last Laker out of the arena, stopping to take dozens of photos with family members dressed in purple and gold Lakers jerseys. His grandmother told him to “act right.” He promised to oblige.