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When the late and great Times sports columnist Mike Downey decided years ago to write about jockey Billy Shoemaker, he did so perfectly. His lead sentence:

“Billy Shoemaker was born 2 pounds 6 ounces and it was the only edge he ever needed in life.”

That remains noteworthy now, because when they run this year’s thoroughbred classic at Churchill Downs on May 2, it will mark 40 years since “Billy The Shoe,” still the third-winningest rider in the sport’s North American history and perhaps its most memorable, won his fourth and last Derby aboard a 17-1 longshot named Ferdinand.

In 1986, Snow Chief was the 3-1 Derby favorite. He was trained by colorful and often grumpy Mel Stute, who was, like Shoemaker, a fixture at Santa Anita. His jockey was a young Alex Solis, who came from Panama, was still struggling with the English language then and had quickly dazzled the Southern California racing world with his talent.

Jockey Bill Shoemaker smiles as he holds a large plaque presented to him at Santa Anita on Jan. 1, 1953, in recognition of winning 484 races. He promptly added to the total by winning the first race of the day.

(David F. Smith / Associated Press)

It was an era in sports somewhat less contentious, more inclined to celebrate its history and its moments and less inclined to look for more. A few weeks earlier, Jack Nicklaus had won the Masters, at age 46. It was a hugely popular outcome, just as Shoemaker’s would be. It was quite the time for legend building, those few months in 1986.

The Derby network telecast brought the comfort of an easy chair. Jim McKay, who had done it for years, took viewers through the likely race scenarios. Al Michaels, whose racing chops were notable well before he asked the world if it believed in miracles and well before the NFL hustled him away to greater fame and fortune, pitched in on the telecast with thoughts on the pageantry and some race angles. A young Michaels, with thick black curly hair and the same distinctive voice, broadcast from the track and touched on the interesting elements of Shoemaker’s presence.

“Ferdinand is at 17-1,” Michaels told the audience. “A few years back, you couldn’t get 17-1 with Shoemaker if he was riding Mr. Ed.”

Shoemaker was already a legend and had already won the Derby three times by then. But any mention of his Derby expertise was, and always would be, sprinkled with a disclaimer about his 1975 ride on Gallant Man, when he misjudged the finish line while leading on the home stretch, pulled up his horse and lost a race he had pretty much won.

In ‘86, that was all soft peddled by the media, which mentioned it more out of duty than reportorial necessity. Ferdinand was, after all, a 17-1 longshot, easier to downplay or ignore. Also, Shoemaker was 54, not exactly an age to be looked upon as a contender. No jockey that age had ever won the Derby — and still hasn’t. There was respect for his seniority, but mostly an assumption that he was the past, not likely the present. He had led North American racing in victories for 29 years, finally totaling 8,833. But much of that happened prior to 1986.

Worst for Shoemaker, he had drawn the No. 1 hole, the starting spot closest to the infield that is usually a death knell for Derby horses. The gate opens and the entire field dashes for the rail, all coming down on top of the 1-hole starter. Shoemaker and Ferdinand held ground for a while, but by the time they got to the back stretch, they were dead last. They were still there as the field got to the top of the home stretch.

Then the cavalry charge to the finish began and Shoemaker went with the crowd, to the outside. At one point in the home stretch run, he was six horses wide.

Then, he made one of those moves that made William Lee Shoemaker “Billy The Shoe.” He saw an opening to his left, squeezed through it and soon had Ferdinand almost to the rail — and in full gallop. Before anybody could analyze what had happened, Ferdinand, carrying a jockey who probably never weighed 100 pounds in his career — thanks to the birth advantage Downey so aptly pointed out years later — was cruising past the leaders and sailing home a winner.

Ferdinand, ridden by Billy Shoemaker, heads down the homestretch to win the Kentucky Derby on May 5, 1986, in Louisville, Ky.

(John Swart / Associated Press)

The victory made legendary trainer Charlie Whittingham a Kentucky Derby winner for the first time. He was 73 and had disliked running young horses in a pressure race such as the Derby. The Triple Crown races are only for three-year-old thoroughbreds. Whittingham won another Derby three years later with Sunday Silence. He trained into his 80s.

Shoemaker’s career rightfully was topped off by that Derby victory, as well as his win in the Breeders’ Cup Classic in 1987.

The aftermath of that 1986 race was less kind, although nobody could take away what Shoemaker had accomplished. The jockey who finished last in the ’86 Derby was Laffit Pincay Jr., who later passed Shoemaker’s North American victory total with 9,530 wins. Pincay’s total was topped by Russell Baze, who took 12,842 wins, but in a riding career that featured wins at lesser tracks against lesser competition. When Baze broke his record, however, Pincay was there to offer his congratulations.

By the time Shoemaker won the 1986 Derby, he had little left to achieve. He not only won 11 Triple Crown races, but he also had won, to mention a few prestigious races, the Hollywood Derby, the Hollywood Gold Cup, the Oak Tree Stakes, the San Luis Obispo and the Santa Anita Derby.

Jockey Billy Shoemaker smiles as he rides Ferdinand, the 1986 Kentucky Derby winner, at Hollywood Park after winning the Breeder’s Cup.

(Bettmann Archive via Getty Images)

Each one eight times.

Shoemaker moved into thoroughbred training after he stopped riding. He was a fixture around Santa Anita, as he had been as a jockey. His success was mixed, certainly less than he had as a jockey.

On April 8, 1991, after a day of golf in the Inland Empire, Shoemaker was headed west on the 210 freeway in San Dimas. The road at that point includes an exit to the right for the 57 freeway south and under the 210. Shoemaker swerved right off the 210 and rolled his Ford Bronco down the embankment, about three stories high, and onto the 57 freeway. Police confirmed he was intoxicated during the crash. Shoemaker suffered a broken neck and spent the rest of his life in a wheelchair, from which he continued as a trainer for several years.

Billly Shoemaker is in the winner’s circle at Santa Anita in March 1976 after winning his 7,000th race.

(Associated Press)

Shoemaker eventually sued the state of California because there was no guard rail at the site, the Ford Motor Co., to whom he alleged that the Bronco was a rollover risk, and Glendora Community Hospital for alleged incorrect treatment when he was bought in. Ford paid him at least $1 million, after agreeing to do so if he received no money from the hospital. There is no record of him getting any money from the state of California.

Shoemaker died in October 2013. He remains third on the North American jockey career win list with his 8,833.

Ferdinand was sent to stud in 1989 and sold to a breeding farm in Japan in 1994. In 2002, reports surfaced that Ferdinand had been sent to a slaughter house in Japan, where he became food for either humans or pets, or both. Racing’s indignation over that, as well as that of anger in the general public, prompted the formation by Congress of a bill that would ban the slaughter of horses in the United States.

It never passed.

If Ty Simpson develops into a top NFL quarterback who leads the Rams to a Super Bowl title, the club will look back at the 2026 draft as one of the best and shrewdest in its history.

Until then, it will be remembered for a news conference.

Yeah, that one.

The post-Day 1 session on Thursday night when coach Sean McVay and general manager Les Snead — the personable and ebullient duo that playfully channeled Top Gun’s “Maverick” and “Goose” in 2025 — appeared dour and subdued after selecting Simpson with the 13th overall pick.

The choice brought a collective groan from much of the fan base. And who could blame it?

They were eager to see their favorite team add a final piece — hello, USC receiver Makai Lemon? — to a roster perhaps one playmaker away from making the Rams the favorite to win Super Bowl LXI at SoFi Stadium next February.

That’s no knock on Simpson, a charming and mature Tennessee native who started 15 games for Alabama before the Rams made him the heir apparent to Matthew Stafford.

The next day, Snead and McVay gave Simpson his flowers and repeated the same talking point: They are in “lockstep” as decision-makers. And McVay explained that his “grumpy” demeanor the night before was related to personal issues and his desire to delicately handle Stafford’s reaction to the pick.

On Saturday, the Rams did not make Snead or McVay available to reporters to summarize their draft, which included Simpson, Ohio State tight end Max Klare, Missouri offensive lineman Keagen Trost, Miami receiver CJ Daniels and Alabama defensive lineman Tim Keenan III. It is the smallest draft class in Rams history, which befits a team with no glaring roster holes.

Ostensibly, Snead and McVay stepped aside to give assistant general manager John McKay and Nicole Blake, the director of scouting, strategy and analytics, experience dealing with questions from reporters, which they handled with aplomb.

But the braintrust’s absence only magnified that this draft was unlike any other it has overseen during 10 years of working as a team.

Alabama quarterback Ty Simpson laughs while standing on the draft stage with NFL Commissioner Roger Goodell on Thursday.

(Vera Nieuwenhuis / Associated Press)

It would have been difficult to top 2025.

The Rams won last year’s draft when they traded out of the first round in exchange for the Atlanta Falcons’ first-round pick this year. That gave the Rams the Falcons’ pick at No. 13 and their own at No. 29.

In March, the Rams traded the No. 29 pick to the Kansas City Chiefs in a package for All-Pro cornerback Trent McDuffie. The masterful move addressed the Rams’ most pressing need and gave them a Super Bowl-ready roster. Classic Snead.

The Rams, set up for a boom-or-bust season akin to 2021, were primed for another typical big swing with the 13th pick. But instead of giving Stafford another weapon, they gave him… his eventual replacement.

Choosing Simpson might prove a savvy move. Especially if Stafford is injured this season or retires in the next year or two. But the pick stunned many. And gauging his public reaction afterward, it appeared to unnerve McVay.

During their time together, Snead and McVay built teams that have played in two Super Bowls, winning one, and made eight playoff appearances. Some interpreted McVay’s demeanor on Thursday night as evidence of a splinter in one of the league’s most successful partnerships.

But that does not appear to be the case.

Recall that after the Rams lost in the NFC championship last January, team president Kevin Demoff’s first order of business was signing Snead and McVay to extensions that had been on the table all season.

Several days before the draft, McVay and Snead described their connection. And they did it with heartfelt comments.

“I truly love Les and I have such respect for the job that he does,” McVay said, adding, “There is nobody I’d rather be partnered up with.”

Said Snead: “From a life perspective, you hear it when players retire, they miss the locker room. Whenever that time comes for me, I’ll miss showing up and doing hard things with Sean just because that’s a relationship that probably makes life worth a living.’”

McVay probably feels that way about Stafford. During the 2021 season, Stafford led the Rams to a Super Bowl title. At 38, he is the reigning NFL most valuable player. He also is in negotiations for a contract adjustment.

But McVay’s desire to not hurt Stafford’s feelings by not publicly giving Simpson a trademark, positive-infused welcome-to-L.A. moment seemed misguided. Stafford is one of the toughest and most resilient players in the NFL. He is bound for the Hall of Fame. The guy seems pretty secure in who he is and where he stands with the team and in NFL history.

So the Rams broke from script. They abandoned an all-in pick for an investment in the future.

“You’re never one player away,” McVay said Saturday during a television interview with NFL Network. “We know that we have a chance to be a good football team but you earn it every single year.

“And if you could tell me that taking somebody would ensure us, I think we would do that. But it doesn’t quite work like that.”

No, it doesn’t.

And if Simpson lives up to the potential that the Rams see in him, it will be another in a string of genius decisions by Snead and McVay.

But if Lemon makes a big catch for the Philadelphia Eagles against the Rams in the NFC playoffs, the Rams might look back at it as the swing they should have taken.

Michael Tilson Thomas came onto the scene as a great hope for classical music, American music, Los Angeles music, modern music, multifaceted pop music, maverick music, Russian music, Broadway music and just plain music, whatever it might be and from wherever it might be found. He lived his 81 years as conductor, pianist, composer, educator and media personality promoting that hope, and died Wednesday having shown how hope is done. He looked ahead. He looked back. Yet he lived for the now.

It wasn’t always easy. He wasn’t, to say the least, always easy. But MTT made music matter by making hope matter. He was, moreover, one of us. He achieved greatness though an epic amplification of a uniquely L.A. positivity in which grumpy became wistful.

I first encountered MTT as a kid clarinetist and he, Michael Thomas back then, a student conductor at USC and already, at 19, music director of the Young Musicians Foundation Debut Orchestra. He was soon everywhere. A piano prodigy, he regularly performed (and hobnobbed) with the likes of Stravinsky, Copland, Boulez and Cage at Monday Evening Concerts programs when the Los Angeles County Museum of Art opened in 1965. That summer, he appeared at the Ojai Music Festival, which he would go on to lead as music director seven times.

MTT liked to describe his L.A. youth as driving from Jascha Heifetz’s house in the Hollywood Hills (where he accompanied the famed Russian violinist in classes) to LACMA to rehearse Ives and Renaissance music, to composition and conducting classes at USC. Then it was home to the San Fernando Valley to practice Beethoven.

All the while, he listened to the hip L.A. 1960s pop music stations on his car radio. He was particularly keen on, and became friends with, Chuck Berry. Home was where he would also encounter screen legends. Tilson Thomas’ father worked in films and television as a screenwriter, producer and dialogue coach. Theodor Thomas was, as well, a painter with a visionary sensibility and a pianist, self-taught other than a handful of lessons from Gershwin.

But it was Tilson Thomas’ mother and grandmother who may have had the biggest influence. His mother was a public school teacher. She instilled what became a key trait in her only child, who treated conducting as an exercise in learning both for the musicians and the audience (if not for him, because he basically knew it all). His grandmother, Bessie Thomashefsky and her husband, Boris, were stars of Yiddish theater on New York’s Lower East Side.

Boris died in 1939, five years before MTT was born. But Bessie and young Michael were close. She recognized that, like her, he was born for the stage, and regaled him with stage lore that put the stardust in his eyes. As a young kid, MTT played Beethoven piano sonatas so impressively that he wowed his babysitter, an architecture student at USC named Frank Owen Goldberg, who needed extra cash.

Frank Gehry, as he became, told me that MTT was already an entrancing showman. The two remained lifelong friends.

While MTT did not actually reside in L.A. for most of his life, he never really left it. It prepared him for all that was to follow. In high school, he met Joshua Robison, who became his lifelong partner and ultimately husband. Whether in New York, Miami, London or San Francisco, wherever they lived, they always talked about L.A. His father’s paintings were on the walls, as were Boris’ Yiddish theater posters, one proclaiming “King Lear,” translated and improved.

The Tilson Thomas package that emerged from L.A. was unlike any conductor the world had seen. He doted on the music of Rachmaninoff when Rachmaninoff was unfashionable and on Steve Reich when Reich was found unfathomable. He adopted classical music’s neglected outsiders and especially such key West Coast “mavericks” as Lou Harrison and Henry Cowell. He convinced Meredith Monk to write for orchestra and enticed everyone from Sarah Vaughan to the Mahavishnu Orchestra onto the symphony stage.

Studying at Tanglewood, the Boston Symphony’s summer home, MTT won the Koussevitzky Prize in 1969 and, with the encouragement of Leonard Bernstein, was appointed assistant conductor to music director William Steinberg. Before long, MTT became principal guest conductor, filling in frequently for Steinberg, who was in poor health.

MTT in his early 20s was vibrant, arrogant, fearless, full of ideas, a chance taker. Ever the Angeleno, he tooled around town in a Porsche. He talked to staid symphony musicians and audiences who didn’t want to be talked to and often played music they didn’t want to play or hear. And he dazzled them. He got a contract with the distinguished German record label Deutsche Grammophon and made exciting records with the orchestra of Tchaikovsky, Stravinsky, Ives and modern Americans. They remain a thrill to hear.

By 1974, it was Tchaikovsky one moment and a wonderfully crazy avant-garde opera the next. Stanley Silverman’s “Elephant Steps,” which MTT recorded in 1974, was for pop singers, opera singers, orchestra, rock band, electronic tape, raga group, gypsy ensemble and, of course, elephants. Richard Foreman wrote the libretto. There had been nothing like it then or since. A revival could prove a sensation. The Olympic arts festival, anyone?

At the same time, Tilson Thomas, who proved a born educator, succeeded Bernstein in delivering the New York Philharmonic’s Young People’s Concerts. When Steinberg left, the Boston Symphony Orchestra passed over MTT as too young (24) and not ready (he wasn’t, nor was Boston). He was just right, though, for the Buffalo Philharmonic, which he led from 1971 to 1979. It was a wild ride, with lots of exciting new music and no small amount of controversy — arresting performances of arresting new works (Morton Feldman in particular) and an actual arrest at Kennedy International Airport when small quantities of cocaine, marijuana and amphetamines were found in his luggage.

He may have seemed ready for a homecoming in 1981, but MTT’s appointment as principal guest conductor of the Los Angeles Philharmonic did not prove to be the return of the prodigal son. These were the years of Carlo Maria Giulini’s music directorship, and MTT brought currency — new music, Gershwin, flashy showstoppers. Much of it was a breath of freshest air, but he was also remembered for his brash youth, which was now a brash 30s. He ran afoul of some in the orchestra and of its imperious head, Ernest Fleischmann.

Having been branded the next Bernstein, MTT floundered. What he needed was not L.A., but a far distant remove to find himself. That happened in two parts.

In 1987, the educator in him led to his greatest project, the creation of the New World Symphony in Miami Beach, Florida. The training orchestra guides young musicians with conservatory backgrounds into the world of professional orchestras.

Around the same time, Bernstein talked the London Symphony Orchestra into hiring Tilson Thomas as music director. Far from L.A., Boston and New York, a newly mature MTT found his bearings, no longer the next Leonard Bernstein but the first and only Michael Tilson Thomas.

Miami gave MTT meaning, and he commissioned Frank Gehry to design a revolutionary concert hall and teaching facility. In London, his conducting took on depth without losing its surface glamour. What MTT still lacked, however, was a creative outlook. He had always thought himself a composer and could, at a party, make up a clever song at the piano on the spot. He had drawers full of sketches but little finished work.

It took a return to the West Coast for MTT, having turned 50, to put all of his musical, emotional, personal and spiritual parts together and achieve greatness. For 25 years as music director of the San Francisco Symphony, MTT conducted Mahler and Tchaikovsky with a depth of soul that integrated his Russian roots and Bernsteinian character. He advocated for mavericks in summer festivals. He found his voice as a composer. He and Robison were embraced as a beloved San Francisco couple. He alchemized the San Francisco Symphony into a Bay Area beacon.

In the challenging last chapter of his life, MTT turned tragedy into triumph to became a universal inspiration. The lockdown in June 2020 meant cancellation of his farewell concerts as music director, including a production of Wagner’s “The Flying Dutchman” with a set by Gehry. The following summer, MTT fell on stage while conducting the London Symphony in Santa Barbara. He was diagnosed with late-stage glioblastoma. He likely had less than a year to live.

Remarkably, MTT continued to conduct until last April. His appearances with the L.A. Phil and the San Francisco Symphony were transformative. He guest conducted in New York, London, Prague and elsewhere. In L.A., a dying MTT led a profound performance of Mahler’s death-obsessed Ninth Symphony, not as a farewell but as a shamanistic savoring of every moment of life. He asked not for sympathy but for joy.

For MTT, the music never stopped. In his later years, he advanced the theory that what you took away from hearing a performance mattered as much, if not more, than what you experienced. That may explain why this creature of the theater who was so graceful leading an orchestra and so enjoyed talking to the audience turned stiff and awkward when bowing to acknowledged applause. Was it his reluctance to leave? Insecurity? Attempt to remove his ego from the experience, as if he was now handing the music over to you?

It was probably all of those things. During his illness, when his movement became more difficult, he let go. He was simply happy to be there, happy to share music, happy to be alive, very happy to be loved. His final bows were a celebration of life.

Sadly, Robison died Feb. 22, exactly two months before MTT, who died four days short of a year since his final concert with the San Francisco Symphony. But he lives on through about 150 recordings and his website.

He and Robison worked as tirelessly throughout his illness to archive his life. His website provides a treasure trove of compelling radio and television programs, his copious Thomashefsky Yiddish theater archive, a vast legacy of searching and believing. And hope.

Lyle Lovett performed Friday evening in Stagecoach’s Palomino tent with the group of killers he calls his Large Band. After the show, I sat with the singer and actor in the front seats of what I’ll call his Large SUV. “It’s a rental,” he said.

We’re in here because you want to protect your voice?
You know, I don’t smoke marijuana.

Anymore, or period?
Period. I have no moral judgment for other people, but I don’t think it’s good for me. When I smell it, I get concerned that it’s going into my body, and so I just try to stay away from it. In the artist tent, there were plumes everywhere. In fact, at our set, two songs in, I called over our assistant tour manager and I said, “Can you put some fans blowing back out into the audience?”

To send the weed back from whence it came.
Well, I don’t want people to waste it either — they paid good money for it. Jackson Browne asked me once in the parking lot of Conway [Recording Studios] — we were doing “The Road to Ensenada,” and he said, “Is it true you’re not cool with weed?” I said, “You know, I’m not.”

Where do you live these days?
In a couple of places, but in Austin, mainly.

People from Texas have strong opinions about the hierarchy of its cities. What’s the best city in Texas?
I can’t answer that.

You wouldn’t deign to.
It’s your thought, not my thought. The cities in Texas are distinct — wildly different from one another. Houston is one of the most international cities in the world. Austin is the most liberal city in Texas but it’s also being transformed by tech money. What’s going on there is analogous to what the oil business did in Houston and Dallas. San Antonio is the gateway to South Texas — it’s like 85% Hispanic. You feel the difference in culture there, and that’s wonderful. That’s my answer.

Did you ever have a move-to-L.A. moment?
I leased houses three different times. The first album I made in Los Angeles was “Joshua Judges Ruth,” in 1991, and the house belonged to a college professor who took a job at New Mexico State. It was on a street called Multiview, one switchback down from Mulholland — between Laurel and Nichols Canyon on the Valley side. I had a beautiful view of Universal City and the 101 as it came in. I remember this professor, when he was showing me the house, he called it “the river of lights.” So I lived there and then later rented the same house two different times, years apart, on a street called Torreyson, right below the Lautner [Chemosphere].

You’re set to get a star this year on the Hollywood Walk of Fame.
I don’t know if that’s true. I think I’m eligible.

It’s true — I checked.
We’ll see.

Let’s say it happens, which it will. How’s that strike you?
I think it’s always an honor to be recognized by any official organization. But that sort of stuff seems completely separate from the work I’m concerned with. What’s important is the work and how you get to do it.

Which of your albums would you say is your best?
It’s impossible to say. I’m proud of the Nashville records — the budgets were smaller and I had to record those records more quickly. But when I went to Los Angeles and spent too much money recording “Joshua Judges Ruth,” that was one of the most expansive creative experiences I ever had.

Define “too much,” right?
It was too much. Instead of recording three or four songs a day, we recorded two songs. Two weeks later, you didn’t love the take, let’s record it again. There was time to search for ideas, not just document ideas — that was the biggest difference for me. The natural way of doing things — just knocking it out — is absolutely valid. But from my point of view, I was more comfortable spending more money [laughs].

Where’d you like to eat when you were working in L.A.?
When we worked at Conway, we’d have lunch every day at Lucy’s El Adobe to the point that I gave them a credit on the albums.

Bailey Zimmerman performed Friday night at Stagecoach, where his set mixed post-grunge country hits like “Religiously” and “Where It Ends” with a cover of Miley Cyrus’ “The Climb” and an appearance by BigXthaPlug on their duet “All the Way.” Before Zimmerman’s set, I met with the 26-year-old singer inside a denim-bedecked pop-up presented by American Eagle, for whom Zimmerman serves as an official spokesbro.

Did you only agree to become an American Eagle ambassador because you thought you might be able to meet Sydney Sweeney?
I would understand why you would think that. But honestly, no — it was a full circle moment in my life. Before my American Eagle deal, I had all the American Eagle underwear. They couldn’t send me new ones — I had ’em all.

Do you get free jeans?
They give me everything for free.

Could you get me some free jeans?
Maybe? I could do one of those things where I’m like, “Oh, it’s for me,” but it’s really for you.

By my count, this is your fourth Stagecoach in a row.
Yep.

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You never miss this, bro.
It’s my favorite time of the year — it’s sick. I come out here the whole weekend. The first year, I brought my best friends, and we’ve done it every year since — all my friends and their fiancees now because we’re getting older and they’re getting married. So it’s just a big party all weekend. It’s something I look forward to.

Speaking of getting married, last year you you told me you were looking for a wife. Any progress?
Well, you know, honestly, I’m still just kind of doing my thing. I’m on God’s timing, truly —I’m just letting it roll.

You’re a Justin Bieber guy.
Beliebe it.

“Swag” or “Swag II”?
I was hesitant to want to listen to “Swag II” because I love “Swag I” so much. But then once you get into “Swag II,” it’s like, Dude, this is so fire, bro. Both albums are so fire — I’ll listen to either one.

Did you watch Bieberchella?
Yes!

What did you think of the YouTube of it all?
I thought it was really cool. I loved it — it was just something way different. I’ve never seen that done like that. Iconic — I would call it iconic. That’ll go down in history.

Bailey Zimmerman on Stagecoach’s main stage.

(Allen J. Schaben / Los Angeles Times)

You have a current radio hit, “Chevy Silverado.” What was your first truck?
A 2005 white Chevy Silverado. That’s what the song’s about.

Yes, of course. But I didn’t know it was true to life — I thought you were using writerly inspiration.
No, true to life, man. My grandpa had a 2005 crew-cab short-bed Chevy Silverado, and I bought it off of him. I had to borrow money from my bank in my hometown, and I bought it of him because times weren’t good at the time. When the used car dealership was going good, maybe he would’ve given it to me, but at that time, it wasn’t going good, so I had to borrow money and have a payment at the bank. Adult things.

You know where that truck is now?
I still have it. Honestly, I didn’t think anybody would resonate with the song — I didn’t think anybody would listen to it just because it was so personal to me. Every single line is a real life story from my life, so to see it resonating with everybody and seeing it do what it’s doing — it’s so cool, man.

A much-anticipated debate featuring leading candidates in the Los Angeles mayor’s race is set for Cinco de Mayo before the Sherman Oaks Homeowners Assn. But it won’t include all the leading candidates.

The influential homeowners group has invited just incumbent Karen Bass and City Councilmember Nithya Raman, and not the three other top contenders Spencer Pratt, Adam Miller and Rae Huang.

The group explained its decision by saying that big, crowded debates can often feel chaotic.

“Rather than hosting a stage filled with a long list of candidates, we have chosen to invite these two leaders specifically because they represent Sherman Oaks on two critical — and complementary — levels of government. This format allows for a deeper, more meaningful discussion about the issues that directly impact our neighborhood and our city,” the group wrote in its description of the debate.

Some of the other top candidates took issue with being excluded.

“If the SOHA wanted a real debate on topics like public housing, a public bank, free and fast transit, and the things that matter to Angelenos all over the city, they should call off their gate-keeping process that keeps the system and the establishment protected,” Huang spokesman Emel Shaikh said in a statement.

From the Miller camp, spokesperson Jaime Sarachit called it “a missed opportunity for these voters not to hear directly from a candidate offering a different approach to solving L.A.’s biggest issues, especially on housing, homelessness and public safety.”

Pratt didn’t respond to a request for comment.

Angelenos could have a chance to see more of the major candidates the next day, May 6, for a televised debate featuring Colleen Williams and Conan Nolan of NBC4 and Enrique Chiabra of Telemundo 52. KNBC hasn’t yet confirmed the lineup, but the station said to participate candidates must have received at least 5% support in two reliable 2026 polls.

Homeless camp skirmish

Raman scouted out a Harbor Freeway overpass in South L.A. last month after parents at nearby 61st Street Elementary voiced concerns about a homeless camp that students had to pass on their way to school. Raman documented her visit with a post on Instagram, saying “these parents have tried again and again to get someone to listen to their needs — and again and again their concerns have fallen on deaf ears.”

But when City Councilmember Curren Price on Tuesday proposed making the area an anti-encampment zone under the city’s municipal code 41.18, Raman voted against the motion, which passed anyway.

Raman routinely votes against 41.18 zones, saying that reducing homelessness requires connecting people to housing.

“This provision at best shifts encampments around a neighborhood.” Raman said in a statement. “Our working protocols are dependent on that. However, enforcement alone does not drive reductions in homelessness. What works is connecting people to shelter and housing.”

That explanation didn’t stop Bass and Curren, who represents the area in question, from throwing shade Raman’s way.

“It is frustrating when efforts to move forward are met with opposition from those who are not fielding these calls, not hearing from parents, and not seeing these conditions firsthand,” said Price spokesperson Angelina Valencia-Dumarot.

Bass campaign spokesman Alex Stack chimed in: “Raman went to this very school to make an Instagram post about how nobody was helping them, and then turned around three weeks later and voted to allow the encampments to return.”

It’s Miller Time!

Adam Miller has scooped up a couple of names from Bass’ past.

Bill Burton, Miller’s senior advisor, who was a deputy press secretary under then-President Barack Obama — also moonlighted for Bass’ 2022 mayoral campaign as a stand-in for Rick Caruso during Bass’ debate prep, though he didn’t work for the campaign in a formal role.

Burton said during that campaign that the race between Bass and Caruso was “essentially a Democrat versus a Republican.”

Now, Burton is running the campaign for Miller, who voted for Caruso in 2022, though he describes himself as a lifelong Democrat.

Separately, Sarah Sheehan, who worked as Bass’ communications director on her 2022 campaign, is working as a consultant for the Miller campaign.

Sheehan said in a statement that the city needs an outsider.

“That is why I decided to work with Adam Miller,” she said.

Lauren Perez-Rangel, who also worked on Bass’ 2022 campaign as a spokesperson, is also working for Miller.

State of play

— BUDGET: Mayor Bass released her $14.9-billion spending plan Monday, which included a proposal to hire 510 police officers — roughly enough to cover retirements and resignations. The budget must be approved by the City Council, and will be the subject of weeks of hearings.

— COVER UP: The Department of Water & Power has drained the Santa Ynez Reservoir in Pacific Palisades to replace the damaged floating cover, frustrating residents who fear there won’t be water to fight potential wildfires.

— EYE OF THE STORMWATER: Los Angeles officials announced a $40-million project at MacArthur Park this week that’s aimed at turning rainstorm runoff into lake water — and maybe improving the park’s tarnished reputation as well. The project will also include new landscaping, walking paths and other features to enhance the location’s appeal as a park.

— LAHSA LAYOFFS: The Los Angeles Homeless Services Authority announced Monday it plans to lay off nearly 300 employees, citing the county’s decision to withdraw funding and set up its own homeless services department.

— INTO THE BREACH: After the massive leak of LAPD files due to a data breach in the L.A. city attorney’s office, officials are seeking explanations from the city’s top lawyer. City Councilmember Ysabel Jurado said she expected City Atty. Hydee Feldstein Soto to appear before a council committee this week about the data leak. “When did the city attorney’s office become aware, what actions were taken, and why were city officials not notified promptly?” Jurado said. “Right now, we’re still left to question and trying to assemble the information.”

— CULTURE OF FEAR: In the LAFD, firefighters rarely question orders because doing so could invite retribution from bosses. That culture was evident in firefighters’ testimony about the Lachman fire, which reignited into the Palisades fire days later.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program was in Echo Park and Venice this week, bringing inside more than 40 Angelenos and clearing eight RVs and trailers off the streets.
• On the docket next week: The City Council will continue to meet to speak about Bass’ proposed budget.

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.

Today I watched as Shohei Ohtani, the day after pitching seven innings, go 0 for 5 with two strikeouts while grounding into a double play. The sample size, at this point, has to be large enough for Dave Roberts and the Dodgers’ management to discuss the elephant in the room with their lead-off batter. He should not bat when he pitches, and he should have a day off after he pitches.

It could also be argued that he should not be the lead-off batter — his average and on-base percentage are lower than, say, Hyeseong Kim, who is also faster and would be a distraction for an opposing pitcher as a threat to steal. It would also give someone for Shohei to drive in if he dropped down the order a spot or two. If baseball is a numbers exercise, then the Dodgers need to do the math.

Peter Maradudin
Burlingame

I have seen enough of Kyle Tucker to know the Dodgers lineup of Shohei Ohtani, Mookie Betts, Freddie Freeman, Will Smith, Tucker, Teo Hernández, Max Muncy, Andy Pages and Hyeseong Kim needs to be changed. Kim has better defense and is a base-stealer. Freeman is not a switch hitter since he can’t hit from the right side. Also, no lefty in the bullpen knows how to throw a screwball?

Ed Villanueva
Chino Hills

An acclaimed ITV thriller is returning to screens this weekend, and fans will be delighted

ITV is set to air repeat episodes of a popular thriller this weekend, more than a year after it finished.

Four-part miniseries Playing Nice centres on two couples who learn that their now three-year-old sons were switched at birth.

Pete (James Norton) and Maddie Riley (Niamh Algar) must decide whether to keep the child they’ve brought up or swap to reclaim their biological son. The narrative quickly spirals from a custody battle into a perilous fight for control and survival, packed with numerous secrets and twists.

“Set against a sweeping Cornish landscape, two couples discover that their toddlers were switched at birth in a hospital mix-up, and face a horrifying dilemma: do they keep the sons they raised and loved, or reclaim their biological child? Living a waking nightmare, Pete and Maddie are jettisoned into the world of the other couple; Miles and Lucy,” reads the official synopsis, reports the Express.

It continues: “At first it seems all four are agreed on a solution, but it soon becomes clear that hidden motives are at play. How far can each couple trust the real parents of their child – or even each other? As Pete and Maddie are stretched to breaking point, they realise they will stop at nothing to keep their family together.”

The series, adapted from the bestselling book of the same name by J.P. Delaney, also features Andor’s James McArdle and Downton Abbey’s Jessica Brown Findlay as the other couple, Miles and Lucy Lambert. World on Fire star Posy Sterling also appears.

Filming commenced in Cornwall in November 2023, with key locations including St Ives and Padstow, as well as Mawgan Porth beach and Park Head.

Playing Nice aired on ITV and streaming service ITVX in January 2025, swiftly becoming ITVX’s best-ever drama launch at the time of broadcast, as well as ITV1’s highest-rated new drama of 2025. Now the series is making a welcome return to screens, with the first two episodes airing on ITV3 from 11.50pm on Sunday (April 26) night. The final two instalments are then available to enjoy over on ITVX.

The series proved a resounding hit with both audiences and critics shortly after its release. It currently holds a 63% rating on review aggregator Rotten Tomatoes, with Digital Spy describing the drama as “the kind of show that will plague your mind in an infuriating, all-consuming, perfecting addictive way”.

Viewers have continued to heap praise on the series online, with one person writing on IMDb: “The acting and scenery are all round amazing. James Norton delivers another outstanding performance as a great actor. The storyline is strong and keeps you on the edge of your seat.”

Another enthusiast added: “A must watch, I loved this! Had me hooked from the start and it had me up till the wee small hours. Devoured it in three nights!! A brilliant 4 episode series. We watched the whole set in one viewing. We were on the edge of our seats.”

A third remarked: “Superb acting, gripping story – loved it,” while another fan similarly enthused: “This is compelling, uncomfortable viewing that pulls you in and gets you involved. This got my Spidey senses tingling from the beginning, and slowly ratcheted up the fear factor as the plot and the characters were revealed.”

A fifth viewer shared the same sentiment, adding: “Every episode had me on the egde of my seat and wanting to scream… I was completely captivated. This story really gripped me from start to finish.”

Playing Nice will air on ITV3 on Sunday, April 26, at 11.50pm

ST. PAUL, Minn. — Nearly a year after the assassination of a Minnesota legislative leader, lawmakers across the U.S. have worked to fortify security in state capitols and improve safeguards when officials are in their communities.

The changes have followed a rise in political violence nationwide that included the stunning assassination last June of Rep. Melissa Hortman, the top Democratic leader in the Minnesota House, and the September killing of conservative activist Charlie Kirk, who was speaking at a college in Utah.

In Minnesota, most doors at the state Capitol are now locked, and people entering must go through weapons detectors. People entering the visitors’ galleries to watch floor debates must go through a second set of detectors.

“It’s important for us to be able to not have our government fall apart if our legislators are under threat,” said Minnesota Rep. Julie Green, a Democrat who sits directly across the aisle from Hortman’s old desk, which remains empty except for fresh roses, her portrait and a speaker’s gavel. “It’s a complicated, complex, very emotional issue, as you can imagine.”

High-profile attacks have stoked lawmakers’ fears

In addition to the killings of Hortman and Kirk, violence targeting political figures in the U.S. in the last few years has included an arson attack last year at the home of Democratic Pennsylvania Gov. Josh Shapiro; an assassination attempt on then-candidate Donald Trump at a Pennsylvania rally in 2024; and a hammer attack on the husband of Democratic then-House Speaker Nancy Pelosi at their California home in 2022.

Twenty-five states, including Minnesota, now formally allow candidates to use campaign funds for personal security. Most made the change after the killings of Kirk and Hortman. Eleven states have laws permitting it, while others have approved it through rules or other mechanisms, according to the National Conference of State Legislatures and the VoteMama Foundation.

This year alone, Alabama, Oregon, Nebraska and Utah enacted laws allowing campaign funds for security. Bills to legalize it are pending in about a dozen other states.

It’s not just happening at the state level. Security spending for congressional and presidential campaigns has jumped fivefold over the past decade. Federal political committees spent more than $40 million on expenses labeled as security during the 2023-24 campaign cycle, according to an April report from the nonpartisan Public Service Alliance.

Weapons detectors are just one response

Metal detectors — one of the most visible signs of concerns about political violence — were installed at Alaska’s Capitol last year. Democratic Rep. Sara Hannan said the change was due to “increased risk of violence in our public institutions.” Lawmakers approved them before Hortman was killed.

But some states have balked at making it harder to access the halls of power. Wisconsin Assembly Speaker Robin Vos, a Republican who knew Hortman, resisted efforts to install metal detectors in his state, saying he didn’t want to “fortify” the Capitol. Wisconsin’s is one of 11 state capitols that don’t have metal detectors, a state audit found.

Minnesota lawmakers are also considering creating a special unit within the State Patrol, which oversees Capitol security, that would provide protection for legislators, the state attorney general, secretary of state, state auditor, and Supreme Court justices.

One lead author is Democratic Sen. John Hoffman, who survived being shot nine times the night Hortman was killed. Prosecutors say the gunman, disguised as a police officer, began his rampage by shooting Hoffman and his wife, then stopped at the residences of two other lawmakers who weren’t home. He then went to Hortman’s home, where he killed the representative and her husband, and wounded their dog so severely that he had to be euthanized.

At a hearing Tuesday, Hoffman called his measure “a necessary response” that would “keep elected officials and Supreme Court justices safe and dedicate the resources necessary and hopefully stop future tragedies from happening.”

Numerous states have also taken action to protect lawmakers’ personal information. North Dakota lawmakers on Wednesday discussed a bill draft for next year that would make confidential the home addresses of candidates and public officials upon request.

The NCSL in February created a $1.5-million fund to reimburse legislatures for expenses related to lawmakers’ personal safety and security while they’re away from their statehouses. More than 30 states have applied or are preparing to, NCSL spokesperson Katie Ziegler said.

Karnowski and Bauer write for the Associated Press. Bauer reported from Madison, Wis. AP writers Becky Bohrer in Juneau, Alaska, and Jack Dura in Bismarck, N.D., contributed to this report.

PITTSBURGH — Daniel Jeremiah traces his rise as an NFL draft analyst to two seemingly unrelated events: a prominent football reporter showing up in his living room to visit a televangelist, and randomly bumping into a college roommate of his brother in a press box.

First, understand that Jeremiah is not just one in a sea of people evaluating pro prospects. He’s highly respected in the industry and, in addition to his radio work as a color analyst for Chargers games, has been the NFL Network’s go-to expert when it comes to breaking down the strengths and weaknesses of players and how they fit with a given franchise.

The former college quarterback is glib, quick on his feet and meticulously organized. Reporters turn to him — his pre-draft conference calls with NFL writers from coast to coast have sometimes lasted more than two hours — and super-secretive team scouts trust “DJ” as a peer, an extra set of eyes.

“I like to joke that I can kind of be a cross-checker for these teams,” said Jeremiah, 48, who lives in El Cajon, where he once set San Diego records for passing yards and touchdowns at Christian High. “So they’ll call and say, ‘Hey, where do you have this guy? What do you think of this player?’”

Jeremiah was once part of that world. He was a college scout with the Baltimore Ravens, Cleveland Browns and Philadelphia Eagles. But his path from quarterback at Northeastern Louisiana and Appalachian State to where he is now was anything but a straight line. It was a more unpredictable and roundabout route than any offensive coordinator would dare draw.

Roll back the clock 40 years, when his father, David Jeremiah, was the senior pastor at a Baptist church in El Cajon. Every Sunday, he would go from pew to pew greeting parishioners. Young Daniel was at his side and doing the same, perfecting a firm handshake, practicing looking people in the eye.

The elder Jeremiah would go on to launch an international radio and television ministry. His son, who remains devout, would eventually carve out a career preaching the gospel of the NFL to an audience of millions. Daniel’s description of player traits are digestible and entertaining, whether it’s his own phraseology or the language he learned after more than two decades in the business.

Daniel Jeremiah speaks with a reporter ahead of the NFL draft in Pittsburgh on Wednesday.

(Ed Rieker / Associated Press)

An unflinching running back might “choose violence,” a team that builds the line before adding skill-position talent is “putting the hardware store before the toy store,” and an edge rusher who passes the “wet paint” test can get around the corner with such lean that “If he played on a field of wet paint, he did not have a drop of paint on him at the end of the game.”

Said Charlie Yook, executive producer of content for NFL Network: “Daniel is hilarious, a funny guy. It’s a different type of humor. He doesn’t swear. He kind of has that schoolish, boyish, sarcastic type of humor, but it’s still something that everyone can relate to.”

Now, for that renown football reporter who showed up in his living room. It was the late Chris Mortensen, who covered the NFL for ESPN and regularly listened on Sunday mornings to the preachings of Dr. David Jeremiah. In 1998, when San Diego played host to the Super Bowl between Denver and Green Bay, Mortensen used the opportunity to meet his favorite radio minister. The elder Jeremiah invited him over to the house for lunch. Daniel was a college freshman home on winter break. He and Mortensen instantly bonded, and the reporter asked if he’d like to attend Super Bowl media day. Later, he invited the young man to join him at the draft in New York, giving him an assignment to work the phones.

Mortensen would give his landline number at the draft to all the team general managers, reporters and other contacts around the league. Jeremiah manned the phone “like a secretary,” took notes and relayed them during commercial breaks. Already showing a knack for organization, Jeremiah kept index cards sorted by division and by tracked receiver and cornerback needs, keeping tabs on which of those players went there.

“That draft was bigger than this draft for me personally,” Jeremiah said, sitting in the stands at an NFL event in Pittsburgh before a cluster of reporters would surround him for final observations on how the first round would unfold.

So a straight line from there to a Mortensen-like role with NFL Network? Hardly. Jeremiah’s next job was with ESPN’s “Sunday Night Football” and a gig that was football-adjacent. He traveled with that crew as a production assistant, but his role was lining up the scenic footage in every city. Say it was a Rams game in St. Louis, he was the one setting up a shoot at a root beer factory so the network had something local to show coming in and out of commercials.

He did that for two years, but eventually his knowledge of the game as a onetime quarterback made him too valuable to waste. The crew put a headset on him and he would be another set of eyes for camera operators and people in the production truck. What cornerback got beat on that play? He knew. Who’s warming up on the sideline? He was watching. How many times has the defense blitzed? He was keeping track. It was a dream job.

“I was a pig in slop,” Jeremiah said.

But it was but one slop stop in his budding career. While walking through a press box at a game, he bumped into his brother’s old college roommate, T.J. McCreight, who was scouting for the Ravens.

“He goes, ‘Hey, do you think you’d ever have any interest in scouting,’” Jeremiah recalled. “I said, ‘I’ve never … I mean, I love the draft and all that stuff. But I’ve never even thought about scouting, but yeah, absolutely I’d have interest in that.’”

Daniel Jeremiah speaks during a news conference at the NFL scouting combine in Indianapolis on Feb. 25.

(Gregory Payan / Associated Press)

Soon enough, he was meeting with Ravens executives who gave him a volunteer assignment at the combine, very high-level stuff.

“I filled the candy jar every day,” he said. “I helped get the players into the interview rooms and all that.”

But he was on his way to eventually spending four years with Baltimore, then following player-personnel director Phil Savage to his GM job with Cleveland, scouting the entire country out of Southern California. When the Browns went 4-12 in 2008, Savage and his hires, Jeremiah among them, were shown the door.

Jeremiah spent two more years with Philadelphia as a West Coast scout before taking an analyst job with NFL Network. He could do the same type of player evaluation without the zig-zagging travel, much better for a father of four.

“I left scouting,” he said. “Scouting didn’t leave me.”

The draft is his Super Bowl, and he’s aware that it’s usually the biggest day in the lives of NFL hopefuls. He keeps that in mind, especially when he’s delivering an honest critique of a player.

“I’m very cognizant of that,” he said. “I don’t know that there’s a right way to do this job or a wrong way. I just know the way that I’ve approached it, and I feel like you could really eviscerate someone on what’s literally the best day of his life. Yeah, I will never do that.”

It’s a delicate balance, though, because he wants to remain true to his scouting beliefs.

“I might not necessarily have a player going to a team,” he said. “But I can try to explain to you why I think that team did what they did. That keeps me from saying a bunch of negative things about a player. I’m not trying to kill the kid, right?”

Said Yook: “There are 200-something guys getting drafted over these three days. You don’t suck if you get drafted in the NFL. Doesn’t matter if you’re pick No. 1 or the last pick. He understands that there’s a very small percentage of people who actually get to touch grass in the National Football League.”

What’s more, people can follow all sorts of twisting paths to success. Jeremiah needs no reminder. Preaching to the choir.

Chinese startup says DeepSeek-V4-Pro beats all rival open models for maths and coding.

China’s DeepSeek has unveiled the latest versions of its signature artificial intelligence-powered chatbot, a year after its flagship model sent shockwaves through the global tech scene.

The Chinese startup launched preview versions of DeepSeek-V4-Pro and DeepSeek-V4-Flash on Friday as it touted its ability to go toe-to-toe with US rivals such as OpenAI and Google.

Like DeepSeek’s previous chatbots, V4-Pro and V4-Flash follow an open-source model, meaning developers are free to use and modify the source code at will.

DeepSeek-V4-Pro beats all rival open models for maths and coding, and trails only Google’s Gemini 3.1-Pro, a closed model, for world knowledge, DeepSeek said in an announcement on social media.

The “pro” version’s performance falls only “marginally short” of OpenAI’s GPT‑5.4 and Gemini 3.1-Pro, “suggesting a developmental trajectory that trails state-of-the-art frontier models by approximately 3 to 6 months,” the Hangzhou-based startup said.

The “flash” model has similar reasoning abilities to the “pro” version, while offering faster response times and “highly cost-effective” usage pricing, the firm said.

The release comes after DeepSeek-R1 stunned the tech sector upon its launch in January last year with capabilities broadly comparable with those of ChatGPT and Gemini.

Marc Andreessen, a prominent Silicon Valley venture capitalist with close ties to United States President Donald Trump, hailed the model’s release at the time as “AI’s Sputnik moment”.

The performance of the Chinese-developed model attracted particular attention as its developers claimed to have spent less than $6m on computing costs – a fraction of the multibillion-dollar budgets that are usual in Silicon Valley.

Some tech analysts challenged DeepSeek’s account of working with such scant resources, arguing that the startup most likely had access to greater funding and more advanced chips than acknowledged.

DeepSeek’s arrival on the scene prompted blowback in some countries amid concerns about data protection and Chinese government censorship.

Multiple US states, Australia, Taiwan, South Korea, Denmark and Italy introduced bans or other restrictions on DeepSeek-R1 shortly after its release, citing privacy and national security concerns.

With more than 60 song credits, Armenta’s songwriting prowess can be heard across some of the most popular música mexicana albums to date, whether by Fuerza Regida, Tito Double P, Peso Pluma or Dareyes de la Sierra.

“I consider myself a tailor,” said Armenta, 25. “[I’ll create] a sound that will be good with your vocal timbre, with your tones, with the vocal intention you need.”

The singer-songwriter wrote Fuerza Regida’s gritty hit “Marlboro Rojo” in 45 minutes, ensuring that the song’s aggressive, battle-ready lyrics also captured a romantic spirit. (“The devil’s bullets and I only think of your eyes,” sang Jesús Ortiz Paz, a.k.a. JOP.) And he wrote “Dos Días” for Tito Double P and Peso Pluma one early morning after a wild night out with friends; you can hear the emotional hangover in the way the vocalists’ rugged voices flail in desperation.

“The most important thing is always to convey something where people can immerse themselves in a feeling,” said Armenta, whose full name is Miguel Armenta.

He dialed into our interview from a tour bus departing from Austin, Texas, en route to the next concert venue on the Dinastía Tour by Peso Pluma, Tito Double P and friends. Armenta was instrumental in writing and producing Tito Double P’s 2024 debut “Incómodo,” a 21-track project that helped distinguish the Mexican corrido singer from his already famous cousin, Peso Pluma.

“I feel that it’s a project that has solidified the responsibility we have as composers and as artists, [it’s] an album full of hits,” said Armenta, who later wrote tracks on Tito Double P and Peso Pluma’s joint 2025 LP “Dinastía.”

Since the beginning of March, Armenta has joined the pair of cousins on stage for their acoustic- and brass-powered song “London,” a track on the deluxe edition of “Dinastía” that indulges in fantasies of living like kings. The song was cut from Armenta’s own 2025 debut, “Portate Bien,” a blend of corridos tumbados with melodic touches of reggaeton and pop.

“I had just bought my own house and I wrote [‘London’] feeling like king of the world in my own studio,” Armenta said. “I thought that song was dead, but I got a call from Double P [Records] asking if I was interested in releasing it with them.”

Armenta’s entry into the música mexicana realm was not as calculated as his lyricism; at least not at first. Coming from a family full of industrial engineers, the Sinaloa-born, Tijuana-raised composer initially set his sights on a degree in biomedical engineering. “I liked the idea of being able to use technology to create advancements that benefit humanity,” he explained.

His passion for music, however, lingered persistently in the background. Starting from when he was 11 years old, Armenta would write lyrics in journals and strum along to the guitar his brother bought him. “He didn’t like that I used his guitar, so he bought me one,” he recalled.

He also gravitated toward independent YouTube artists who uploaded their raw compositions online. By age 18, he would compose one of his first R&B songs, titled “Dame” — though the tenderly sung track wouldn’t be published until two years later.

“It was the first song that I bet on as an artist, and I spent the very little money that I had on it,” Armenta said. “A literal sacrifice. I knew that the song had something, but I didn’t know what until later.”

In about 2020, Armenta helped compose some songs for Angel Ureta, a friend who signed with Street Mob Records, founded by Fuerza Regida’s JOP. Armenta eventually developed a working partnership with the indie label, which continued sign popular música mexicana acts like Calle 24, Chino Pacas and Clave Especial.

One of Armenta’s earliest hits with Fuerza Regida came in late 2022 as “Bebe Dame.” The band recorded the song alongside Grupo Frontera, who earlier that year had reached TikTok popularity for the cumbia nortena spin on “No Se Va,” a 2018 pop song by the Colombian band Morat.

Armenta proposed the adoption of his own track from the vault, “Dame,” which by that point had fewer than 1,000 views online. With some lyrical tweaking by Edgar Barrera — a 29-time Latin Grammy-winning songwriter, who Armenta later befriended — the revamped version, “Bebe Dame,” became an immediate sensation.

It helped score Fuerza Regida their first career entry into the Billboard Hot 100 at the start of 2023, later peaking at No. 25. By 2024, Fuerza Regida became one of the biggest streaming Latin acts in the U.S., alongside Junior H, Peso Pluma and Bad Bunny.

In 2024, Armenta and Barrera reunited again in secret to hash out what would be Grupo Frontera and Fuerza Regida’s joint EP, “Mala Mía” — “without either group knowing,” Armenta said. Their viral corrido-cumbia single, titled “Me Jalo,” secured Fuerza Regida’s first Latin Grammy nomination, and Grupo Frontera’s fourth, under the category of regional song at the 26th Annual Latin Grammy Awards.

“Edgar and I focus a lot on how to evolve sounds,” Armenta said. “We are in the process of recognizing [the value of] música mexicana, that we can’t let this die.”

Between 2024 and 2026, 12 of Armenta’s songs have been recognized by the BMI Latin Awards — which honors songwriters, composers and publishers — including Fuerza Regida and Grupo Frontera’s joint collaborations “Bebe Dame” and “Me Jalo,” as well as Fuerza Regida’s “TQM,” “Nel” and “Por Esos Ojos.” Tito Double P’s “Dos Dias” and “Escapate” (feat. Chino Pacas) also received accolades.

For now, the songwriter shows no signs of stopping his lyrical magic, though he figures he might part ways with the music world 10 years from now — but not before winning a couple of Grammy Awards, he said, or even starting his own publishing label for songwriters and composers. (“My mom says I’m going to get gray hairs,” he added.)

“I think that life put me here to have fun,” Armenta said. “I had another destiny, but life accommodated itself to place me in this valuable situation.”

THE WEATHER is warming up and what better way to enjoy it then heading to an upgraded lido?

The UK is home to over 150 outdoor swimming pools, so there are more than enough to choose from no matter where you are in the country.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

But there are a number of lidos that are reopening this year with major upgrades – or even new ones opening for the first time.

Here’s a rundown of the refreshed spots with new heated pools, cafes and splash parks.

Portishead Open Air Pool

Sitting not too far from the British Channel coast, Portishead Open Air Lido reopened this week following a major £1.3million makeover.

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The project included refurbishing the pool and the cafe, as well as upgrading the changing rooms.

The pool itself is 33metres long and there is a separate toddler pool as well.

Sea Lanes Canary Wharf

Last year, Canary Wharf in London announced plans for an Olympic-sized open-water lido with sauna pods and a clubhouse.

In total, the pool will have six lanes and stretch 50metres long, with a fixed depth of 1.3metres.

The new lido will float in the Eden Dock area of Canary Wharf.

The Sea Lanes lido is set to open this summer and will be open all year round.

Valentines Lido

Valentines Lido in Illford is set to open later this year.

The brand new £4million heated lido will have a huge pool, kids’ splash park and spa zone.

In addition to the 25metre-long, six-lane pool, there will be a gym too.

Other facilities planned for the site include a cafe, gym, dance and exercise studio, meeting room and a picnic area.

Unity Beach holiday park, Brean

Unity Beach holiday park in Brean will launch a £10.2million expansion this year with a new lido that will be surrounded by private cabanas and an outdoor dining area as well.

Open to non-guests as well, a new indoor splash pad will also replace the baby pool, for kids to play in.

The park is also planning to open a trampoline park, bandstand, boardwalk, landscaped gardens and a dog agility area.

Hilsea Lido

Hilsea Lido in Portsmouth is currently undergoing a £7.75million refurb, having been closed since 2022.

The lido is planning to reopen on May 2 and will feature an upgraded pool, new changing rooms, benches, tables and a fountain.

In total, the pool will be 67metres long and 2.6metres deep.

For those wanting a snack or drink while visiting, there will also be a food and drink pop up on site.

Saltdean Lido

Saltdean Lido in Brighton is planning to refresh its cafe and restaurant.

The upgraded restaurant and cafe will feature dishes made with local produce and will reopen as the Reading Room at Saltdean Lido on May 1.

If you are looking for a lido near you, two women who have been to every one in the country have shared their favourite pools for kid-free swims.

Plus, here are the six cleanest beaches in the UK where you can safely swim in the sea this summer.

Paramount Skydance’s proposed takeover of Warner Bros. Discovery cleared a major hurdle Thursday as Warner stockholders overwhelmingly embraced the $111-billion deal.

Approval was expected. Paramount Chairman David Ellison’s proposal would pay Warner investors $31 a share — four times the price of the company’s stock a year ago. Warner Bros. officials did not disclose the precise vote count during the nine-minute special shareholder meeting beyond saying the merger “received sufficient votes and has overwhelmingly passed.”

Paramount offered the generous premium to compete with, and ultimately triumph over, Netflix, which withdrew from the auction in late February after Ellison’s father, Oracle billionaire Larry Ellison, agreed to guarantee the financing of his son’s deal.

The merger would create a new Hollywood behemoth by giving Paramount, which owns CBS and the Melrose Avenue film studio, such valuable assets as HBO, HBO Max, CNN, TBS, Food Network and Warner Bros.’ film and television studios in Burbank. Warner controls beloved TV shows, franchises and movies, including “Casablanca,” Harry Potter, D.C. Comics, “Game of Thrones,” “Euphoria,” “The Pitt,” and “Rooster.”

“Shareholder approval marks another important milestone towards completing our acquisition of Warner Bros. Discovery, building on our successful equity and debt syndications and progress across regulatory approvals,” Paramount said Thursday in a statement. “We look forward to closing the transaction in the coming months and realizing the creation of a next-generation media and entertainment company that better serves both the creative community and consumers.”

Paramount now must secure regulatory approvals in the U.S. and abroad. Ellison, who is poised to honor President Trump with a dinner Thursday evening in Washington, hopes to complete the deal by late summer.

Shareholders, however, made known their disdain for Warner Chief Executive David Zaslav’s proposed golden parachute, which could swell to $887 million, depending on when the transaction closes. His cash, stock and options would be valued at more than $550 million. Warner board members also agreed to pay his tax bill, which could approach $330 million, should the merger be completed by year’s end.

Shareholders, in a non-binding vote, voted against Zaslav’s package.

Paramount’s deal has encountered significant opposition in Hollywood and beyond.

More than 4,000 filmmakers, actors and industry workers, including Ben Stiller, Bryan Cranston, Ted Danson, J.J. Abrams and Kristen Stewart have signed an open letter asking California Atty. Gen. Rob Bonta and other regulators to block the deal.

Opponents fear the consolidation would be lead to massive layoffs and diminish the quality of programming that Warner Bros., CNN and HBO are known for. Hollywood has sustained thousands of layoffs over the last six years; the film production economy hasn’t recovered from shutdowns during the 2023 labor strikes.

“This is already an incredibly consolidated industry where writers have seen merger after merger leave fewer and fewer companies in control of what our members can get paid to write,” Michele Mulroney, president of the Writers Guild of America West, said Wednesday during a press briefing organized by Free Press and other progressive groups that oppose the merger.

“A combined Warner Bros. and Paramount would create a media behemoth with tremendous leverage to reduce content, to raise prices, to increase control of production, to suppress member compensation, worsen working conditions and silence the voices of our members,” Mulroney said.

Trump has long agitated for changes at CNN, and few expect his Justice Department to block the transaction. Defense Department Secretary Pete Hegseth echoed the sentiment. “The sooner David Ellison takes over that network the better,” Hegseth told reporters in March.

It’s unclear whether Bonta or other state attorney generals will file a lawsuit to try to stop the deal. Bonta previously told The Times that his office is reviewing the consolidation.

“This deal can get blocked. I personally think it will get blocked — or undone,” Alvaro Bedoya, former Federal Trade Commission member who now serves as a senior adviser to the American Economic Liberties Project, told reporters Wednesday. He pointed to other proposed mergers that unraveled due to fierce opposition, including the proposed combinations of grocery giants Kroger and Albertson’s.

David Ellison has promised to keep HBO entact and the Paramount and Warner Bros. movie studios humming. He promised cinema owners last week that a combined Paramount-Warner Bros. would release 30 movies into theaters each year.

“This transaction uniquely brings together complementary strengths to create a company that can greenlight more projects, back bold ideas, support talent across multiple stages of their careers,” Paramount said in a statement to push back on the opposition. The company would have the power to “bring stories to audiences at a truly global scale — while strengthening competition by ensuring multiple scaled players are investing in creative talent.”

To finance the Warner takeover, Ellison’s billionaire father, Larry Ellison, has agreed to guarantee the $45.7 billion in equity needed. Bank of America, Citibank and Apollo Global have agreed to provide Paramount with more than $54 billion in debt financing.

Paramount has enlisted a former Trump administration official, lawyer Makan Delrahim, who served as Trump’s antitrust chief during the president’s first term.

In a confident move, Delrahim filed to win the Justice Department’s blessing in December — even though Paramount didn’t have an agreement with Warner Bros. Discovery’s board at the time. In February, a key deadline for the Justice Department to raise issues with Paramount’s proposed Warner takeover passed without comment from the Trump regulators.

Plucked from a previous life as a working actor, Richard Gadd experienced a disorienting whirlwind less than two years ago. “Baby Reindeer,” his painfully personal 2024 Netflix show, based on the sexual assault he survived, instantly opened the floodgates of fame for him.

“The show came out on Thursday, and by Sunday, I could barely walk anywhere without being recognized, without being stopped,” Gadd says while visiting The Times’ offices earlier this month. “That’s an adjustment because I always thought if anything like that ever happened, it would be a bit more of a gradual process. But it was overnight, so I didn’t have time to adjust.”

Now the winner of three Emmy Awards and a slew of other accolades for that series, which he starred in, wrote and served as showrunner, Gadd, 36, has already helmed a new emotionally ferocious show.

Probing the tropes of rigid masculinity, “Half Man,” premiering Thursday on HBO, chronicles the destructive bond between two men over several decades. Niall and Ruben — whose respective mothers are romantic partners — call themselves brothers but they couldn’t be more dissimilar.

Bullied at school, meek Niall (played by Mitchell Robertson in his youth and Jamie Bell in adulthood) lost his father as a young boy. He dreams of being a writer. Meanwhile, the insolent and hyper-confident Ruben (Stuart Campbell as a teen and Gadd as a grown-up) has been in trouble with the law from a tender age. Facing any conflict, he resorts to brutal violence. When Ruben takes Niall under his wing, the two become inseparable. But as the years and resentments pile on, their cancerous brotherhood threatens to obliterate them both.

“Half Man” follows the destructive bond between Ruben (Richard Gadd), left, and Niall (Jamie Bell) over several decades.

(Anne Binckebanck / HBO)

“Richard’s writing is really unique and really singular,” Bell says on a video call from England, where he’s currently shooting the “Peaky Blinders” sequel series and is sporting a shorter haircut. “He identifies that real gray area of humanity really well and he puts a voice to the most uncomfortable places that we go into or things that we think when we’re alone in the dark, when we think no one’s watching.”

Gadd wrote the first episode of what would become “Half Man” back in 2019, while he still was performing the live version of “Baby Reindeer,” which he turned into the series. At the time, he recalls, society at large was seriously engaging in conversations around toxic masculinity and sexual violence as the #MeToo movement gained strength.

“It wasn’t necessarily that I set out going, ‘Oh, I want to make a show about that,’” Gadd says. “It was more that something must have just drifted into my head thinking, ‘You take two men repressed in their current life, repressed in the modern world. And then you go all the way back to their childhood. You contextualize learned behavior; you contextualize trauma and things they learned that make them these repressed adults. And you bring a bit of context to, I suppose, difficult male behavior in the present.’”

As “Baby Reindeer” launched his career as a creator, Gadd put “Half Man” on ice for four years but couldn’t stop thinking about returning to it. “Even as I was coming to the end of ‘Baby Reindeer,’ I thought, ‘I’m really looking forward to getting back to that project,” he recalls. “The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now.’”

Sitting across from the mild-mannered Gadd, the magnitude of his transformation on screen for “Half Man” becomes even more impressive. Gadd comes off as thoughtful and emphatic, while Ruben, his physically imposing character, commands trepidation.

“The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now,’” Gadd says about working on “Half Man.”

(Ian Spanier / For The Times)

Watching Gadd as the rage-fueled Ruben, one might be surprised to learn he originally had no intention of acting in “Half Man.” After wearing multiple hats on “Baby Reindeer,” Gadd thought this time around he could get a purely external bird’s-eye view of a project as showrunner and writer of “Half Man.” But eventually people around him suggested he should be in front of the camera once again.

“My initial response was always, ‘That’s just so far away from anything I’ve done before. It’s so far away from me. Are people going to buy it?’” he recalls. “And behind every single fear-based thought was a worry of what people might think, which in my opinion, isn’t a good enough reason to not do something.”

Convinced audiences would struggle to see the guy from “Baby Reindeer” as this “hard man,” a U.K. term for tough and intimidating men, he had to physically morph. To inhabit a new body, Gadd underwent a strict exercise regimen, and most importantly, a new diet.

“I had a chef make these meals in England, fun enough, and send them up to Scotland where I was filming,” he recalls. “I’d eat them at specific times. You go through periods of fasting and through dehydration whenever you had your top off. There was a real science to it.”

And yet, though he at first worried he wouldn’t look big enough, Gadd refused to portray Ruben with a chiseled physique conceived for mere aesthetics.

“I didn’t want him to have a six pack, I wanted him to feel like a real person,” Gadd says. “Sometimes when you see someone on TV and they’re ripped, I almost don’t think that’s real strength. Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”

Before he agreed to play the character, Gadd auditioned numerous actors for the part, but with all of them he felt they were too focused on his appearance as an imposing figure and not his inner turmoil. “Ruben is extremely sad as a person. He’s terribly broken and traumatized,” he says.

For the series, Gadd bulked up to become more physically imposing: “Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.” Richard Gadd in “Half Man.” (Anne Binckebanck / HBO)

When asked if he sees himself as Ruben, Gadd contemplates the question, debating whether it’s his “jetlagged brain” or ambivalence about finding some of Ruben within him.

“Do I see myself in Ruben?” After a pause, he concedes: “All of his behavior is a reaction to a deep traumatic happening in his life. I can relate to finding it extremely difficult to get past big traumatic events and coming to terms with them and coming to terms with yourself even as a result of them.”

With less hesitation, Bell, 40, acknowledges that he finds a certain kinship with his character. As a teenager, Bell flocked to people with a defiant edge. “I grew up without a father in an all-female household and I felt very naked as a child in terms of needing to be protected by someone who was dominant and aggressive,” he says. “I totally understand why Niall seeks solace in someone like him. No one will touch Ruben. There is a safety in that.”

Gadd says he doesn’t think about celebrities when searching for the actors. “I’m quite fame-averse when it comes to casting because I think sometimes it can get in the way,” he explains. “You can have a show, which starts up with all the best intentions, turn into a sort of acting vehicle for someone, or the discussion becomes about the actor doing this role.”

That said, when the casting director on “Half Man” asked him about his “dream cast,” Gadd expressed Bell was the only one who would genuinely excite him. But could that happen? “In my head, I was still in pre-‘Baby Reindeer’ time where I thought, ‘Well, somebody like him is not going to be interested.’ And then I thought, ‘Well, he might be,’” Gadd says.

For his part, Bell found the “nihilism” in Niall, a man desperately running from his true self and living in Ruben’s shadow, an enticing and complex character to play. “[Niall] conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical and thinks that his way is the correct way, and that other people don’t understand that he is terminally unique,” Bell explains with a chuckle.

Bell, who plays Niall, says his character “conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical …”

(Anne Binckebanck / HBO)

Aside from a tight schedule to produce “Half Man,” the challenge for Bell was adjusting to the dramatic intensity that Gadd was after. “I wasn’t particularly prepared for that, therefore sometimes my reading of certain scenes I’d get wrong. We’d start scenes and Richard was like, ‘You are pitching it at like a six, and this is very much an 11,’” Bell recalls laughing. I was like, ‘Oh, OK.’ That took some modulating.”

In Gadd’s mind, Bell remains an “underrated” artist. A proud Scotsman, Gadd recalls loving Bell in the 2007 romantic dramedy “Hallam Foe,” where the British actor played Scottish. For “Half Man,” Gadd thought Bell could convey the pain that haunts Niall, even as his actions paint him less like Ruben’s victim and more like a vengeful participant in the chaos.

“There’s always something I find so vulnerable about Jamie and I knew that I was going to take Niall in some really big journeys where he was going to almost test the audience’s love for him,” Gadd says. That Niall finds Ruben so alluring is natural to Gadd, who believes the notion of a valiant male figure has been bred into everyone via fables and fairy tales.

Gadd adds that whether or not we like to admit it, we’re drawn to alpha male characters. “Because from an early age, we’ve been told they are always at the top of the social hierarchy. And as a result, we’ve always, as a society, answered to those kinds of people as some sort of leaders.”

And though he says he’s unfamiliar with the “manosphere,” the misogynistic and chauvinistic online community, Gadd doesn’t believe Ruben would fall for the gurus in those circles who claim to have the answers for young guys to become “real men.”

“Ruben carved his own masculinity. To give him credit, if that’s even something you can give him, those spaces wouldn’t hold any weight for him. He’s his own man,” Gad says. “He would never follow anyone on social media. He’s the person to be followed.”

Based on the tone of Gadd’s output thus far, it may come as a surprise that as a young person he dreamed of creating a show along the lines of the U.K.’s “The Office,” which he considers a “perfect piece of art.” The stories he is telling now better reflect his “neuroses” and the experiences he’s endured.

“My life just took a very dramatic turn, and my sensibilities weren’t workplace sitcoms anymore. When I grew up and I was doing comedy I thought, ‘I’ll write a sitcom one day and every character will be sort of funny in it,’” he says. “But my life just took a turn to the point where I needed my writing and my art darkened because what I went through was very dark.”

Humor is not entirely absent from “Half Man,” some of the characters’ reactions to their distressing realities earn a chuckle. Still, Gadd’s funny bone might also find an outlet in other people’s narratives. He was recently announced as part of the cast in Apple TV’s upcoming high-concept series “Husbands,” for which he already shot his scenes. Adapted from a bestselling novel of the same name, it stars Juno Temple as a woman who gets to experience life with a different partner every time she changes the light bulb in her attic.

“I’m very picky with stuff I take on. Because I love writing my own work so much, anything that takes me out on someone else’s show has to be very special. And this was very special,” Gadd says.

“Everything I do doesn’t have to be dark,” he adds with a soft smile.

ONE of the most famous hotels in the world is closing its doors until next year.

The Burj Al Arab in Dubai, which opened back in 1999 and is known for being a rare ‘seven star’ hotel. is to undergo a major renovation.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

The major project comes after the hotel was damaged by a drone being intercepted near the hotel in late February, which caused a minor fire and damage to the façade of the building.

However, the renovation was already planned before this happened.

As part of the refurb works, the hotel will redesign all of its 198 suites.

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Some of the hotels key interior design features will be kept, including the large aquarium and marble cladding.

The hotel’s spa will also be upgraded, as well as other guest areas.

The project will be led by French interior architect Tristan Auer, who is mainly known for his projects in France but has also worked on redesigning the interiors of the Royal Scotsman Belmond Train.

In a statement on the hotel’s website, it states: “Jumeirah Burj Al Arab is currently undergoing a carefully phased restoration programme designed to refresh and upgrade the hotel’s iconic décor while preserving its distinctive character.

“The programme has been developed through long-term planning, following more than 25 years of continuous operation.

“We would be pleased to assist with an alternative reservation in one of our Jumeirah properties in town.”

The hotel will be closed from this month and is expected to reopen in late 2027.

When staying at the Burj Al Arab, guests can expect a 24/7 butler service, an adult-only infinity pool and 10,000 square metre terrace.

If that wasn’t luxury enough, the hotel also boasts a Michelin-starred restaurant and an underwater aquarium experience.

It’s on its own man-made island and inside, some of its interiors even feature 24 carat gold.

Though, this doesn’t come cheap as it usually costs over £1,000 per night to stay at the hotel.

The Burj Al Arab is not the only hotel getting upgraded in Dubai either.

The Armani Hotel Dubai was closed on April 1 for a major refurb and is expected to reopen later this year.

JW Marriott Marquis is also partially closed to redesign all of its 1,608 rooms and suites.

Then, the Park Hyatt Dubai will close for a short period from May 2026 to finish off its renovation works that include upgrading rooms and refreshing the guest areas.

And finally, the St. Regis Dubai The Palm hotel is also currently temporarily closed for improvements.

However, Dubai remains on the do-not-travel list by the UK Foreign Office due to the ongoing Iran war.

In other travel news, here are what all the UK airlines have said about fuel crisis concerns including Jet2, TUI, BA, Virgin Atlantic, Ryanair and easyJet.

Plus, Brits are set to face a steep £350 cost in new rules for travelling to Europe with pets.

WASHINGTON — A man who stole a purse from then-Homeland Security Secretary Kristi Noem while she dined at a restaurant under the protection of Secret Service agents was sentenced on Wednesday to three years in prison for a string of thefts in the nation’s capital.

Mario Bustamante Leiva did not recognize Noem when he grabbed her Gucci handbag from the floor of a restaurant where she was eating with her family in April 2025, according to the U.S. attorney’s office. Noem’s purse had credit cards and about $3,000 in cash. Police recovered it from Leiva’s motel room.

Bustamante Leiva, a 50-year-old native of Chile, is facing deportation after his sentence imposed by U.S. District Judge Trevor McFadden.

“Bustamante Leiva came to Washington illegally to prey on citizens of the district,” said Jeanine Pirro, U.S. attorney for the District of Columbia, in a statement. “His pattern of theft ends here.”

Noem, who is identified only by her initials in court filings, acknowledged the incident in a statement last year that referred to Bustamante Leiva as a “a career criminal who has been in our country illegally for years.”

He pleaded guilty in November to three counts of wire fraud and one count of first-degree theft. He was charged and convicted of robbing two other people and charging fraudulent purchases to their credit cards.

Bustamante Leiva was charged along with a second suspect, Cristian Montecino-Sananza, who was sentenced in March to 13 months of incarceration for his role in one of the other thefts.

Investigators said they identified Bustamante Leiva as a suspect in the thefts after he used a stolen gift card to make a purchase.

Kunzelman writes for the Associated Press.

WASHINGTON — Los Angeles Mayor Karen Bass and L.A. County Supervisor Kathryn Barger met privately with President Trump and administration officials Wednesday to press for federal support and yet-unpaid wildfire recovery funding as the region continues to rebuild from the 2025 fires.

“This afternoon we met with President Trump and Administration officials to advocate for families who lost everything,” Bass and Barger said in a statement. “We had a very positive discussion about FEMA and other rebuilding funds as well as the support of the President to continue joining us in pressuring the insurance companies to pay what they owe — and for the big banks to step up to ease the financial pressure on L.A. families.”

Barger said the two leaders had a “high-level discussion” with the president in the Oval Office, sharing stories about what fire survivors are experiencing day to day. She added that “we left details behind with the President,” but did not specify whether Trump made any funding or policy promises during the meeting.

“First and foremost, today’s meeting was to thank the President for his initial support of infusing federal resources to expedite debris removal, as well as his recent tweet about insurance companies, which have already proven fruitful,” she said in a statement provided to The Times.

Bass was similarly reserved about the discussions, telling reporters that “we will follow up with the details,” but signaled progress is being made on federal support.

“I think what’s important is that we certainly got the president’s support in terms of, you know, what is needed, and then the appropriate people were in the room for us to follow up. And that was Russ Vought, who is the head of the Office of Management and budget,” Bass told KNX on Wednesday.

The meeting comes on the heels of a yearlong standoff between California leaders and the Trump administration over wildfire recovery funding, disaster response and whether the federal government should have a say in local rebuilding permitting.

California leaders, led by Gov. Gavin Newsom, have accused the Trump administration of withholding billions in critical wildfire aid, prompting a lawsuit over stalled recovery funds. Officials allege political bias in the delay of billions of dollars from the Federal Emergency Management Agency.

Newsom visited Washington in December. When he made his rounds on Capitol Hill, he met with five lawmakers, including three who serve on the Senate and House appropriations committees, to renew calls for $33.9 billion in federal aid for Los Angeles County fire recovery.

But the governor said he was denied a meeting with FEMA and would not say whether he had attempted to meet with Trump to discuss the issue.

Bass, meanwhile, appears to have found a path to the president on a subject that has been paramount for her community.

The fruitful meeting comes after Trump lobbed insults at the mayor at a news conference earlier this year, where he called her “incompetent” for how she handled last year’s wildfire recovery efforts. He alleged that under Bass’ leadership, the city’s delay in issuing local building permits will take years when it should have taken “two or three days.”

California officials, including Newsom, have urged the Trump administration to send Congress a formal request for the $33.9 billion in recovery aid needed to rebuild homes, schools, utilities and other critical infrastructure destroyed or damaged when the fires tore through neighborhoods more than 15 months ago.

What Bass and Barger’s meeting with the president ultimately produces remains to be seen.

The billions in recovery aid have not yet materialized, but the meeting could potentially give those discussions new momentum.

The White House did not immediately respond to a request seeking comment about the meeting.

Earlier this month, Trump criticized insurance provider State Farm on Truth Social for its handling of the devastating Los Angeles County wildfires. He accused the insurance giant of abandoning its policyholders when tragedy struck.

“It was brought to my attention that the Insurance Companies, in particular, State Farm, have been absolutely horrible to people that have been paying them large Premiums for years, only to find that when tragedy struck, these horrendous Companies were not there to help!” Trump wrote.

But the rebuke didn’t come out of the blue. It stemmed from a controversial February visit to Los Angeles by Trump administration officials.

Trump tapped Environmental Protection Agency Administrator Lee Zeldin in an effort to strip California state and local governments of their authority to permit the rebuilding of homes destroyed in the Eaton and Palisades fires.

Within the week, Zeldin was in Los Angeles, bashing Newsom and Los Angeles officials at a roundtable with fire victims and reporters, saying that residents were suffering from “bureaucratic, red tape delays and incompetency” and that leadership was “denying them … the ability to rebuild their lives”.

During the trip, officials heard direct complaints from local leaders and fire victims about insurers being slow, restrictive and insufficient with their claim payouts.

After these meetings, Trump directed Zeldin to investigate the insurers’ responses. State Farm, facing roughly $7 billion in fire-related claims, is also under formal investigation by California’s insurance commissioner over its handling of the crisis.

Despite tensions with the administration, Bass and Barger appeared confident that progress was being made on the insurance and funding issues.

“Our job is to fight for our communities,” their joint statement concluded. “When it comes to this recovery, our federal partners are essential, and we are grateful for the support of the President.”

Shawna Thomas, who exited CBS News earlier this year, has joined MS NOW as political director.

The cable network formerly known as MSNBC announced Wednesday that Thomas will lead the organization’s political unit and direct coverage of campaigns and elections. She will also appear as an on-air analyst.

Thomas lands at the progressive-leaning MS NOW after five years as executive producer for “CBS Mornings.” She announced her departure from the program last month, just as co-host Gayle King was signed to a new deal.

Thomas is among a number of executives and on-air talent who have left CBS News since the arrival of editor-in-chief Bari Weiss, although she told colleagues her decision was about getting away from the grind of early morning television.

MS NOW is owned by Versant, a company created out of the cable assets spun off by Comcast. The new company chose not to rely on the news-gathering resources of NBC News, which oversaw MSNBC, and is building its own editorial operation.

Last month, MS NOW poached long time NBC News White House correspondent Peter Alexander, who will have a daily program on MS NOW and handle extended breaking news coverage starting later this year.

Thomas is a veteran of political coverage. She is a former Washington bureau chief for the news division at Vice Media, overseeing politics and policy stories for the HBO series “Vice News Tonight.”

Thomas spent a decade working for NBC News in various production roles, including planning its election coverage. She also had a stint as an executive at Quibi, the short-form streaming video platform.

Star receiver Puka Nacua will fully participate in voluntary offseason workouts, the Rams are getting closer to another contract adjustment with quarterback Matthew Stafford, and coach Sean McVay and general manager Les Snead hope backup quarterback Jimmy Garoppolo decides to put off retirement and return for a third season and possible Super Bowl run.

McVay and Snead addressed those topics and the NFL draft on Tuesday during a videoconference with reporters.

Nacua led the NFL in receptions last season but also was involved in a string of off-the-field incidents the last few months, including an alleged biting incident that led to a civil lawsuit. Those situations put the brakes on any immediate discussion between the Rams and Nacua about a massive extension for the fourth-year pro.

In March, Nacua began a rehabilitation program in Malibu, but he was present for the first day of workouts on Monday.

Nacua, 24, “looks great” and is “doing really well,” McVay said. McVay declined to detail discussions he’s had with the All-Pro, who was a finalist for NFL offensive player of the year.

“He and I have a great relationship,” McVay said. “Feel really good about kind of the direction we’re going.”

Stafford, 38, led the Rams to the NFC championship game last season and is the reigning NFL most valuable player. According to overthecap.com, he is due to carry a salary-cap number of $48.3 million this season.

But Stafford has no doubt demanded, and will receive, a raise and a possible additional year in a deal that the Rams acknowledged two years ago is essentially a year-to-year situation.

“Progress has been made,” Snead said of negotiations.

There is no timeline, Snead said, “but don’t expect any drama, per se.”

Garoppolo, 34, has backed up Stafford for two seasons, and he has been invaluable.

Last year, with Stafford sidelined for training camp because of a back issue, Garoppolo ran the offense and prepped the defense with a skillset honed during a 12-year career that included a Super Bowl appearance. Stafford joined workouts before the season and remained healthy throughout, but Garoppolo was perhaps the most valuable insurance policy in the NFL.

Last season, Garoppolo played on a one-year contract and earned $4.5 million, according to overthecap.com.

McVay expressed confidence in fourth-year pro Stetson Bennett, but said he was hopeful that “when the time is right,” Garoppolo will “change his mind,” and return.

“You leave the door open,” McVay said when asked if there was a point that Rams would press Garoppolo to return. “I don’t think you want to press. What you don’t want to do is ever force a guy to play if in his mind he’s ready to move on.

“But you don’t want to minimize that, ‘Hey, if you do decide you want to play, let’s make sure it’s here with us.”

The Rams have the 13th pick in the NFL draft, which begins Thursday in Pittsburgh. They have one pick in the second and third rounds, one in the sixth round and three in the seventh.

Receiver, offensive line and edge rusher are among the positions the Rams could address with their first top-15 pick since they selected quarterback Jared Goff with the No. 1 pick in 2016.

“There’s a lot of possibilities,” McVay said. “We don’t control what happens in those 12 picks before, and so what we’ve done is a lot of contingency planning and a lot of conversations, and feel really good about that.”

Karol G is taking her 2025 album, “Tropicoqueta,” worldwide.

After wrapping two bombastic headlining sets at Coachella this year, the Colombian superstar announced a stadium world tour on Instagram Tuesday morning.

The “Viajando Por El Mundo Tropitour” will kick off July 24 at Chicago’s Soldier Field. The “Provenza” artist will then head out to Las Vegas on Aug. 7 before making a stop at SoFi Stadium in Inglewood on Aug. 14. She’ll grace California with one more performance on Aug. 21 at Levi’s Stadium in Santa Clara.

The 35-year-old singer will wrap up the U.S. leg of her tour with a performance in Dallas on Oct. 15 before commencing the international section of the tour in Monterrey, Mexico, on Nov. 6. This string of shows is scheduled to finish exactly a year after commencing, with a July 24, 2027, set in Milan, Italy.

Karol G was the first Latina to headline Coachella in the desert fest’s 27-year history. She was only the second Latin music artist to get top billing at the event, with Bad Bunny being the first to ever do it with his 2023 headlining performances.

“This is for my Latinos that have been struggling in this country lately,” she told her fans during her history-making performance. “We stand for them. I stand for my Latina community. I am very proud because this brings out the best in us: unity, resilience and a strong spirit. We do this because we want everyone to feel welcome to our culture, so I want everyone to feel proud of where you come from.”

During her Coachella shows, which took place across two weekends in April, she brought out a cavalcade of guest performers — including L.A.’s own Becky G, the Colombian reggaeton revivalist J Balvin and Greg Gonzalez from Cigarettes After Sex.

The “Si Antes Te Hubiera Conocido” artist first teased that she’d be embarking on a tour at the end of her set during the second weekend of Coachella. Text reading “Nos Vamos de Tour” (We’re going on tour) was displayed as she played her final song.

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell, and it looks like the Dodgers won’t be needing Tatiana Tate to be a live trumpeter for a while.

Well, we knew some bad news had to hit the Dodgers eventually, and it did on Monday when they put new closer Edwin Díaz on the injured list because of “loose bodies” in his right elbow. He will have surgery and will be out until sometime after the All-Star break.

Díaz signed a three-year, $69-million deal with the Dodgers before the season, and after a great debut, has steadily declined. He has a 10.50 ERA and has given up nine hits and walked five in six innings, striking out 10. He has four saves. Let’s look at each game:

March 27 vs. Arizona
1 IP, 0 hits, one walk, two strikeouts, save

March 28 vs. Arizona
1 IP, save

March 31 vs. Cleveland
1 IP, one hit, one ER, one walk, two strikeouts

April 5 at Washington
1 IP, one strikeout, save

April 7 at Toronto
1 IP, one hit, one walk, three strikeouts, save

April 10 vs. Texas
1 IP, four hits, three ER, one walk, two strikeouts, blown save, win

April 19 at Colorado
0 IP, three hits, three ER, one walk

We kept hearing from Díaz and the Dodgers that he was healthy, but his fastball had lost about two miles per hour, and he went nine days without pitching. The Dodgers are known for not always being 100% forthcoming about injuries (I’m pretty sure their health advisor is the Black Knight from “Monty Python and the Holy Grail”).

And then on Monday we hear about “loose bodies.” Loose bodies in the elbow are small fragments of bone or cartilage which are floating in the joint.

At the moment, Díaz joins names that include Don Stanhouse (2-2, 5.04 ERA) and Kirby Yates (4-3, 5.23 ERA) among terrible free agent reliever signings by the Dodgers. Tanner Scott was terrible last season, led the league in blown saves and didn’t pitch in the postseason, but has rebounded so far this year (of course, it’s still early).

I thought after Yates and Scott were so bad last season that the Dodgers would wait a while before offering big money to a reliever. But no. You have to figure they will be shy now.

Of course, Díaz could recover from this and come back to be a great closer. But right now, yikes.

So who will be the new closer? The guess here is that Dave Roberts will go with whoever the matchups dictate. Their best relievers this season have been Alex Vesia, Jack Dreyer and Scott. Blake Treinen pitched well until his last outing. Same with Will Klein.

So, looks like another season of bullpen uncertainty. We should all be used to it by now. But just think: Closer injured, Mookie Betts injured, Kyle Tucker not hitting as expected and the Dodgers are still 16-6 (on pace to win 118 games) and have the best record in baseball.

And of course those pesky San Diego Padres are right there with them at 15-7, the third-best record in baseball.

Welcome, Jake Eder

The Dodgers brought left-hander Jake Eder up from the minors to replace Díaz. Eder, 27, was with the Angels last season, where he went 0-1 with a 4.91 ERA in 18 1/3 innings, walking nine and striking out 15. He was selected out of Vanderbilt in the fourth round of the 2020 draft by the Miami Marlins.

Of course, we know one thing if he’s with the Dodgers, and sure enough: He missed the 2022 season after Tommy John surgery. The Marlins traded him to the White Sox in 2023 and he had an 11.42 ERA in five starts in double A. In 2024, he had a 6.61 ERA in 24 minor-league starts. His contract was purchased by the Angels before the 2025 season, and they traded him to Washington on July 30. The Dodgers purchased his contract on April 1.

Dalton Rushing is amazing

Dalton Rushing has 12 hits this season. Seven of them are home runs. In 27 at-bats, he is hitting .444/.496/1.296. He is one behind Max Muncy for the most home runs on the Dodgers. He is tied for fourth in the NL in homers, but everyone he is tied with or trailing has at least 50 more plate appearances.

He has 13 RBIs, tied for third on the team with Kyle Tucker and Teoscar Hernández, trailing Andy Pages (21) and Freddie Freeman (14). They all have at least 50 more plate appearances.

At this point, I’d play him every day until Freeman comes back from paternity leave and strongly consider starting him at DH when Shohei Ohtani is the starting pitcher. This run won’t last forever, but might as well ride it out while you can.

Davey Lopes remembered

I’m a little behind on this, but the Dodgers honored Davey Lopes before the first home game they played after he died. They played a video and had a moment of silence for him.

I think he deserves a patch on the uniform, but, the Dodgers must think otherwise.

Charley Steiner says thanks

After the last newsletter, where readers gave their best wishes and shared their favorite Charley Steiner moments, Steiner sent along the following:

“This has all been so very flattering. I’m feeling better and stronger. The messages were so kind, flattering and overwhelming.”

Up next

Tuesday: Dodgers (Yoshinobu Yamamoto, 2-1, 2.10 ERA) at San Francisco (Landen Roupp, 3-1, 2.38 ERA), 6:45 p.m., Sportsnet LA, AM 570, KTNQ 1020

Wednesday: Dodgers (Shohei Ohtani, 2-0, 0.50 ERA) at San Francisco (Tyler Mahle, 0-3, 7.23 ERA), 6:45 p.m., Sportsnet LA, AM 570, KTNQ 1020

Thursday: Dodgers (Tyler Glasnow, 2-0, 3.24 ERA) at San Francisco (Logan Webb, 2-2, 5.40 ERA), 12:45 p.m., Sportsnet LA, AM 570, KTNQ 1020

*-left-handed

In case you missed it

Dodgers closer Edwin Díaz to undergo surgery, will return after All-Star break

Rick Monday on saving an American flag at Dodger Stadium: ‘I get letters every week’

Shaikin: Rick Monday saved an American flag in 1976. Why the moment resonates 50 years later

Behind the scenes of a milestone Make-A-Wish experience with the Dodgers

And finally

Vin Scully discusses what he does to prepare for a game. Watch and listen here.

Until next time….

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.