year

Writer Neil Gaiman denied sexual misconduct allegations first brought forth against him over a year and a half ago in a statement released Monday.

Gaiman, the bestselling fantasy author behind “The Sandman” comic books, and novels and shows “American Gods” and “Good Omens,” called the allegations, which emerged in the summer of 2024, a “smear campaign” that are “simply and completely untrue.”

“These allegations, especially the really salacious ones, have been spread and amplified by people who seemed a lot more interested in outrage and getting clicks on headlines rather than whether things had actually happened or not,” Gaiman wrote.

Five women first accused the 65-year-old British author of sexual misconduct in the summer of 2024, appearing in the Tortoise Media podcast “Master: The Allegations Against Neil Gaiman.” The women claimed Gaiman had them call him “master” during their alleged sexual encounters.

Eight women then accused the author of assault, abuse and coercion in an article published by New York magazine just over a year ago.

Scarlett Pavlovich, Gaiman’s former nanny, filed a lawsuit against the author and his estranged wife Amanda Palmer, almost exactly a year ago, accusing the couple of human trafficking. She alleged that she was brutally and repeatedly raped and sexually assaulted by Gaiman while working for the couple without pay.

“Gaiman repeatedly physically and emotionally abused Scarlett, raping her vaginally and anally, humiliating her, forcing her into sexual conduct in front of Gaiman’s child, and forcing her to touch and lick feces and urine,” the complaint states. Gaiman called Pavlovich “slave” and ordered her to call him “master,” the complaint states.

The abuse took place while Pavlovich was providing babysitting services for the couple in New Zealand in 2022, according to the suit.

All other allegations against the author stemmed from the 1990s to 2022, when he was living in the United States, Britain and New Zealand.

The author has sold more than 50 million copies of his books worldwide, and many have received film and television adaptations over the years. His work drew a large female readership, typically uncommon for comic-book writers. The allegations clashed with the self-proclaimed feminist writer’s public persona.

Gaiman has spent the last year out of the spotlight, after publishing company Dark Horse Comics cut ties with him shortly after the New York magazine article was published. Gaiman was also dropped from various film and TV adaptations of his work, including the final season of Amazon’s “Good Omens” and the streamer’s new “Anansi Boys” TV series.

He was also left out of press for the final season of Netflix’s “The Sandman” last year and Disney halted development of “The Graveyard Book” months after the initial allegations.

The author last publicly addressed the allegations a day after the New York magazine article was released, and wrote he had stayed quiet “both out of respect for the people who were sharing their stories and out of a desire not to draw even more attention to a lot of misinformation.”

At the time, Gaiman wrote that he “could have and should have done so much better,” admitting that he “was obviously careless with people’s hearts and feelings, and that’s something that I really, deeply regret. It was selfish of me. I was caught up in my own story and I ignored other people’s.”

Gaiman’s most recent statement comes just days after an unidentified Substack user who goes by TechnoPathology posted the latest in a series of articles over the last year defending the fantasy author.

Gaiman claimed he hasn’t been in contact with the anonymous poster but would “like to thank them personally for actually looking at the evidence and reporting what they found, which is not what anyone else had done.”

He said “the actual evidence was dismissed or ignored” by most reporting, including “mountains” of “emails, text messages and video evidence that flatly contradict” the claims.

The author also announced in the statement that he’s been working on a book throughout the “strange, turbulent and occasionally nightmarish year and a half.” The project is his longest since the 450-plus-page “American Gods,” he said.

“It’s a rough time for the world,” Gaiman wrote. “I look at what’s happening on the home front and internationally, and I worry; and I am still convinced there are more good people out there than the other kind.”

History was made in more than one way at Sunday night’s 68th Grammy Awards.

Bad Bunny’s “Debí Tirar Más Fotos” won album of the year — the first Spanish-language LP to take the Recording Academy’s highest honor. Kendrick Lamar and SZA’s “Luther” was named record of the year, making Lamar the winningest rapper in Grammy history (and just the fourth artist to go back-to-back for the record prize). Then there were Billie Eilish and her brother, Finneas O’Connell, who took song of the year with “Wildflower”; they’re now the only songwriters with three wins in that prestigious category.

To go by demographics, the ceremony clearly embodied the diversity gains the academy has been saying proudly are happening among its 15,000 voting members. But if new kinds of faces are becoming Grammy darlings, the music they’re being recognized for still upholds many of the academy’s old values. A night for making history was also a night for reveling in it.

Take “Luther,” a soulful hip-hop slow jam built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 rendition of a love song Marvin Gaye and Tammi Terrell recorded in the late 1960s — an intricate piece of lineage-making meant to bridge multiple generations.

“First and foremost, let’s give a shout-out to the late, great Luther Vandross,” the producer Sounwave said as he, Lamar, SZA and the song’s other creators accepted their award at Crypto.com Arena. (Before they made it onstage, Cher misread the card identifying “Luther” as record of the year and said that Vandross himself had won.) Lamar added, “This is what music is about,” and expressed his gratitude for being allowed “the privilege” to use Vandross’ music as long as he and SZA promised the singer’s estate not to curse on their record.

You can hear a similar reverence for those who came before in Olivia Dean, the 26-year-old British singer named best new artist on the strength of her hit “The Art of Loving” LP, which looks back to the gleaming pop-soul of Diana Ross and Whitney Houston.

Even Bad Bunny, the Puerto Rican rapper and singer who became a superstar at the bleeding edge of reggaeton and Latin trap, achieved his Grammy breakthrough with something of a throwback move: “Debí Tirar Más Fotos” is an exactingly arranged tribute to his native island, with elements of Puerto Rican folk styles such as bomba and plena and more hand-played instrumentation than he utilized for 2022’s sleek “Un Verano Sin Ti,” which scored a Grammy nomination for album of the year but lost to “Harry’s House” by Harry Styles (who, as it happens, presented the album prize Sunday).

Part of Bad Bunny’s success this year can be attributed to the fact that he’s a far bigger celebrity than he was three years ago; indeed, his Grammy triumph impressively sets up the halftime performance he’ll give this coming weekend at Super Bowl LX. But not unlike Beyoncé’s rootsy “Cowboy Carter,” which finally brought her a win for album of the year in 2025 after a number of outrage-inducing defeats, “Debí Tirar Más Fotos” is also primo Grammy bait: a work steeped in tradition from a natural innovator.

For years, the Grammys’ rearview gaze used to bum me out — and, to be honest, as lovely as Eilish’s “Wildflower” is, her song of the year win with the tender acoustic ballad felt like a failure of imagination among voters I wish had recognized the hurtling exuberance of “Golden,” from Netflix’s “KPop Demon Hunters.” (“Golden” did take the prize for song written for visual media, which made it the first K-pop tune to win a Grammy.)

Yet something about Sunday’s ceremony made it hard to get too worked up about all the historicizing. Perhaps it was how plainly yet passionately many artists used their time onstage to speak about the issues pressing on us right now. “Before I say thanks to God, I’m gonna say: ICE out,” Bad Bunny told the crowd as he accepted an award for música urbana album. “We’re not savage, we’re not animals, we’re not aliens. We are humans, and we are Americans.”

Eilish said, “No one is illegal on stolen land.” Dean pointed out that she’s the granddaughter of an immigrant and that “those people deserve to be celebrated.”

I was also moved by how personal so much of the music felt — a cry of imperfection like Lola Young’s “Messy,” for instance, which she performed by herself on piano and which won pop solo performance in an upset over the likes of Lady Gaga and Sabrina Carpenter. “I don’t know what I’m gonna say because I don’t have any speech prepared,” she yelled into the microphone as she received her trophy. “Obviously, I don’t — it’s messy, do you know what I mean?”

Weirdly for a show with yesterday so heavily on its mind, a tribute to the late R&B trailblazers Roberta Flack and D’Angelo was a disappointment, with Lauryn Hill as bandleader moving way too quickly (in way too short an allotted time) through songs that require real space to unfurl.

That’s what Justin Bieber had for the evening’s most striking performance: a slow and radically stripped-down rendition of his song “Yukon” that he sang wearing only boxer shorts and socks, accompanying himself with a scratchy electric guitar riff he fed through a looping station.

“Yukon” is from Bieber’s impressive “Swag” album, which he released last year after a lengthy stretch in the pop-star wilderness; it’s an LP, kind of like “Messy,” about learning to forgive yourself for your flaws, and here he sang “Yukon” like a guy who’d figured out — maybe a guy figuring out — how to build a life outside the punishing expectations of celebrity. The music had the past in it, of course, but didn’t feel constrained by it.

BOGOTA, Colombia — President Trump is scheduled to host one of his most vocal regional critics, Colombian President Gustavo Petro, at the White House in a high-stakes meeting analysts suggest could redefine the immediate future of bilateral relations.

Petro has called Trump an “accomplice to genocide” in the Gaza Strip, while the U.S. president called him a “drug lord,” an exchange of insults that escalated with U.S. sanctions against Petro, threats of reciprocal tariffs, the withdrawal of financial aid to Colombia and even the suggestion of a military attack.

Tensions eased in early January when Trump accepted a call from Petro, saying it was a “great honor to speak with the president of Colombia,” who called him to “explain the drug situation and other disagreements.”

The two leaders are expected to meet Tuesday to address strategies for curbing drug trafficking and boosting bilateral trade, while potentially discussing joint operations against Colombian rebel groups fueled by the cocaine trade.

“There’s a lot of space here for mutual cooperation and shared success,” said Elizabeth Dickinson, a Colombia expert at the International Crisis Group.

Combating drug trafficking

Decades of security cooperation once made Colombia the primary U.S. ally in the region, but that relationship has recently faced unprecedented strain.

The two countries have opposing views on how to address the problem of illicit drugs. While the U.S. remains anchored in aggressive eradication and supply-side control, Petro advocates for interdiction, demand reduction and providing economic alternatives for small-scale coca farmers.

In 2025, the U.S. signaled its dissatisfaction with Petro’s anti-drug policy by adding Colombia to a list of nations failing to cooperate in the drug war for the first time in three decades.

Since then, Petro has focused on highlighting the record seizures and claiming that his government has managed to halt the growth of coca leaf crops. However, Colombia’s coca crop has reached historic highs, as the government shifts away from eradication. According to United Nations research, potential cocaine production has surged by at least 65% during the Petro administration, to more than 3,000 tons per year.

The Venezuela factor

The sudden detente between Petro and Trump followed a period of extreme volatility.

Tensions peaked after the Jan. 3 U.S. raid in Caracas that captured then-President Nicolás Maduro and his wife, Cilia Flores. Petro denounced the operation as an act of “aggression” and a “kidnapping,” blasting the U.S. for what he called an “abhorrent” violation of Latin American sovereignty and a “spectacle of death” comparable to Nazi Germany’s 1937 carpet bombing of Guernica, Spain.

Despite recently calling for Maduro’s return to face Venezuelan justice, Petro’s tone softened significantly during a subsequent hourlong call with Trump, paving the way for their upcoming summit.

Gimena Sánchez-Garzoli, director for the Andes region at the Washington Office on Latin America, a think tank, believes that Trump accepted Petro’s call partly to quell questions about the operation in Venezuela and the growing concern over warnings issued to countries like Colombia.

She also said she considers it likely that both presidents will agree on actions against drug trafficking and a joint fight against the National Liberation Army guerrilla group, which is most active on the border with Venezuela.

‘A quiet, effective cooperation’

Signaling a thaw in relations just days before the White House summit, the Colombian Foreign Ministry announced on Thursday that repatriation flights for deportees from the U.S. have officially resumed.

Images released by the ministry showed citizens arriving at El Dorado airport — a stark contrast to the diplomatic crisis a year ago. At that time, Petro triggered a near trade war by refusing U.S. military deportation flights over “dignity” concerns, only relenting after Trump threatened 50% tariffs and visa cancellations.

“A good outcome [of the meeting] would be that the relationship is cordial, pragmatic, and that the two countries can get back to what they have been doing for years, which is a quiet, effective cooperation on shared security threats,” Dickinson said.

“The less noise there is around the relationship the better.”

Suárez and Rueda write for the Associated Press.

After five seasons as football coach at Orange Lutheran, Rod Sherman is leaving. The school announced Monday that “effective today, Rod Sherman has concluded his tenure as head football coach.”

Last week, there was speculation of Sherman’s future after a social media post indicated he was out as coach. In response to a text, Sherman said he was still head coach.

Sherman, who also helped his wife, Kristen, coach flag football at Orange Lutheran, went 3-9 last season, including two forfeit losses. During the Southern Section Division 1 playoffs, the Lancers upset No. 1-seeded St. John Bosco.

His team won a Southern Section Division 2 championship in 2021 and went 33-29 overall in five seasons. It was his second stint at Orange Lutheran. He had been an assistant coach and athletic director starting in the 1990s when Jim Kunau was head coach, then left to be a head coach in Colorado. The school indicated it will launch a search for Sherman’s replacement.

His wife is still listed as Orange Lutheran’s flag football coach but that is expected to change, too.

The team’s general manager, Kyla Laulhere, and offensive line coach Chris Ward will run the program until a new head coach is finalized. Ward, a graduate of Mater Dei and UCLA, has no interest in being head coach. Offensive coordinator Austin Pettis, an Orange Lutheran graduate, could be a top candidate.

Coaching in the Trinity League has become similar to a college or NFL team. The expectations are so high that not winning at a top level can result in a coaching change within three to five years. JSerra also made a change this past season. Santa Margarita had a first-year coach this past year, alumnus Carson Palmer, who won a Division 1 and state title.

SACRAMENTO — The year opened with President Trump declaring that “the fraud investigation of California has begun,” a move that quickly set off a barrage of allegations from his administration and Republican allies questioning the integrity of state programs and the leadership of Gov. Gavin Newsom.

The accusations, amplified across social media and conservative outlets, have pushed California and its Democratic leadership to the center of a broader national political fight over waste, fraud and abuse.

Newsom has dismissed the claims as politically driven, arguing that the administration is singling out Democratic-led states while ignoring similar problems elsewhere. The governor also responded by highlighting fraud cases in Republican-led states and by criticizing Trump’s own record and business dealings.

Against that backdrop, it has become increasingly difficult to separate substantiated fraud from fabricated or recycled claims, to distinguish old findings from newly raised allegations and to determine who can credibly claim credit for uncovering wrongdoing — all amid a toxic and deeply polarized political climate.

Dan Schnur, who teaches political communications at USC and UC Berkeley, said allegations of malfeasance in California is a particularly ripe target for Republicans because Democrats have controlled the state Legislature and governor’s office for years.

Democrats hold a supermajority in both the Assembly and the Senate, meaning they hold at least two-thirds of seats in both houses, and not a single Republican has been elected to statewide office in California since 2006, when Gov. Arnold Schwarzenegger and Insurance Commissioner Steve Poizner were reelected.

“There is no shared responsibility here for Republicans,” Schnur said. “If you had a state in which Republicans were actually competitive, they would bear some responsibility for these problems.”

Audits and prosecutions show that California has experienced its share of fraud, particularly in complex programs involving emergency aid, healthcare and unemployment insurance. The state paid out billions of dollars in fraudulent unemployment claims during the COVID-19 pandemic, and the California State Auditor has issued repeated warnings about state agencies that are “at high risk for waste, fraud, abuse, or mismanagement.”

Along with recycling a barrage of years-old allegations of financial malfeasance in California and other Democratic states, the Trump administration elevated claims of child-care fraud in Minnesota last month, prompting Gov. Tim Walz to drop his reelection plans to focus on the growing political crisis in his state.

Fraud allegations are increasingly being deployed as a political weapon against Newsom, a leading Trump critic and a potential 2028 Democratic presidential contender. Politicians have always railed against government waste, fraud and abuse, but now those issues are being “weaponized into a partisan issue,” Schnur said.

For the public, it can be hard to discern the truth. Here is a look at three of the central fraud allegations — and what the evidence shows.

Child-care funding

President Trump used his social media platform, Truth Social, to accuse California of widespread fraud last month, drawing a link between his administration’s investigation into child-care spending in Minnesota and programs in the Golden State, and announcing a major federal “fraud investigation” into the state’s actions.

“California, under Governor Gavin Newscum, is more corrupt than Minnesota, if that’s possible???” wrote Trump, using a disparaging nickname for the governor.

The Trump administration then moved to freeze $10 billion in federal funding for child care in five Democrat-led states — California, New York, Colorado, Illinois and Minnesota — over “serious concerns about widespread fraud and misuse of taxpayer dollars.”

In a trio of Jan. 6 letters addressed to Newsom, the U.S. Department of Health and Human Services said it was concerned there had been “potential for extensive and systemic fraud” in child care and other social services programs that rely on federal funding, and had “reason to believe” that the state was “illicitly providing illegal aliens” with benefits.

The letters did not detail evidence to support the claims. The governor’s office dismissed the accusation as “deranged.”

A federal judge subsequently blocked the Trump administration temporarily from freezing those funds. In that ruling, U.S. District Judge Vernon Broderick said he didn’t understand why the government was making it harder for states to access child-care money before any wrongdoing had been discovered.

“It just seems like the cart before the horse,” he said.

Hospice funding

Days after Trump’s social media post about alleged corruption under Newsom’s watch, Dr. Mehmet Oz, administrator for the Centers for Medicare & Medicaid Services, and Bill Essayli, the top federal prosecutor in Los Angeles, held a joint news conference on public benefits fraud, but offered few details about the scope of their investigation.

The officials accused “foreign actors” of draining billions from public healthcare programs in California, referencing bogus hospice providers first exposed by The Times in 2020 and later investigated by California Atty. Gen. Rob Bonta.

Essayli placed the blame for bad actors squarely on Newsom, calling him “the fraud king.”

Weeks later, Oz released a video of himself walking in the Los Angeles neighborhood of Van Nuys as he questioned why dozens of alleged hospices were operating along four blocks. He blamed the “Russian Armenian Mafia” and made his remarks while pointing to an Armenian bakery, prompting accusations of racism from the Armenian community.

Newsom’s office last week hit back by highlighting state efforts to fight fraud, while pointing to a 2025 Axios story on the Trump administration’s decision to pause a federal program to crack down on bad hospice operators.

Bonta’s office said it has filed criminal charges against 109 individuals over hospice fraud-related offenses and launched dozens of civil investigations.

Newsom, speaking at a Bloomberg event Thursday in San Francisco, said the allegations have been recycled and misrepresented. Later that day, he filed a civil rights complaint against “baseless and racist allegations against Armenian Americans in California” made by Oz.

“Hospice, we’ve been after that for years and years before Oz was even on the scene,” Newsom said. “In 2021, we did a moratorium on new hospice programs, 280 we shuttered.”

The Center for Medicare & Medicaid Services said earlier this year that — in addition to California — Arizona, Nevada, Texas, Ohio and Georgia are being monitored following allegations of fraud and waste.

EDD fraud

The state’s Employment Development Department, known as EDD, reported in 2021 that approximately $20 billion was lost due to fraud, largely in the federal Pandemic Unemployment Assistance (PUA) program.

While unemployment fraud was rampant across country during the pandemic as governments rushed to provide support, California’s problems stood out.

The state itself admitted in 2021 that it failed to take precautions that had been implemented in other states, including using software to identify suspicious applications and cross-checking benefit claims against personal data on state prison inmates.

Rep. Kevin Kiley (R-Rocklin) said department mismanagement and fraud often overlap and cited EDD as a prime example.

“When there is a lack of internal controls, a lack of diligence of how funds are used, that makes it easier for those who want to take advantage of the system to profit,” Kiley said.

EDD’s own tracker said the state has recovered more than $6 billion in stolen funds and opened more than 2,300 unemployment fraud investigations since the pandemic began, leading to nearly 1,000 arrests and more than 670 convictions.

The department said it has expanded fraud enforcement through partnerships with law enforcement, new identity-verification technology and a dedicated fraud task force.

But, reports of mismanagement at EDD have continued. A recent audit also found EDD wasted $4.6 million by paying monthly service fees for more than 6,200 cellphones that went unused for at least four consecutive months between November 2020 and April 2025 — including some devices that were inactive for more than four years.

At the same time, “EDD continues to have high rates of improper [unemployed insured] payments, including fraudulent payments, and it needs to improve the customer service it provides to UI claimants,” another report found.

What’s next?

Newsom said there is a reason the Trump administration is not pointing to fraud in Republican-led states.

“This is about polarization, politicalization, weaponization,” Newsom said Thursday.

Asked what the Trump administration will discover in probing California for fraud, Newsom said investigators will find a state “taking that issue very, very seriously.”

“We absolutely are here to be a partner, to go after waste, fraud and abuse,” Newsom said.

State audits show vulnerabilities persist. The California State Auditor has repeatedly flagged Medi-Cal eligibility discrepancies that have exposed the state to billions of dollars in questionable payments, while also warning that weaknesses in information security across state agencies remain a high-risk issue.

Curtailing waste could be particularly important during the upcoming year as California and its state-funded programs head into a period of volatile fiscal uncertainty, driven largely by events in Washington and on Wall Street. Newsom’s own optimistic budget proposal projects a $3-billion state deficit for the next fiscal year despite no major new spending initiatives.

The nonpartisan Legislative Analyst’s Office warned in November that California faces a nearly $18-billion budget shortfall.

It will also be a key issue in upcoming elections. A group of Republicans running for statewide offices, including California gubernatorial candidate Steve Hilton, pegged that the state’s annual estimate of fraud, waste and abuse across state programs at $250 billion, an estimate that includes unverified public tips submitted to a campaign-run website.

The group cited the estimate as justification for creating their own “California Department of Government Efficiency,” or CAL DOGE, a nod to a similarly named federal initiative promoted by Elon Musk that generated headlines but has not produced documented savings or formal audit findings. CAL DOGE is not currently a state department, despite its name.

Who deserves credit when fraud is prosecuted has also become a point of contention. After a man was arrested last month for fleecing L.A.’s homeless services program for $23 million, critics of Newsom were quick to blame the governor. Newsom responded by saying the case was uncovered by local investigators working with law enforcement, which he added is “exactly the kind of accountability and oversight the state has pushed for.” (The Los Angeles district attorney’s office ran a parallel, independent investigation.)

Essayli responded on social media by saying no one made an arrest until Trump and Atty. Gen. Pam Bondi “appointed me to investigate and charge fraud offenses in California.”

Kiley, the California Republican congressman, said despite the partisan fighting over fraud, the issue should rally both parties.

The “easiest” way to solve the state’s budget problems and improve government services for taxpayers is to “minimize and eventually eliminate fraud,” said Kiley.

DO YOU love theme parks? Well, you could visit numerous across the UK for the price of just one ticket.

Merlin attractions has introduced an offer where guests can stay at one of their resorts and will receive an Essential Merlin Annual Pass (MAP).

Guests need to book between February 3 and March 1, for a stay at one of Merlin’s onsite hotels for anytime between now and June 26 and in return will be given a pass to visit Merlin attractions for free, for a year.

For example, you could stay onsite at Legoland Windsor Resort, Alton Towers Resort, Chessington World of Adventures, Thorpe Park or Warwick Castle.

Known as the ‘Stay For A Night, Play For A Year’ offer, each guest will get a year-long pass to over 20 attractions.

Stays at many of the resorts are themed and often include breakfast as well.

If you wanted somewhere unique to stay, you could head to Alton Towers’ Stargazing Pods, which are set around a village green and have telescopes to see the night sky.

A one-night stay in one of these pods for a family of four costs from £160 and includes free parking.

Alternatively, if you want to visit Legoland Windsor Resort, there is the Woodland Village, Resort Hotel and Castle Hotel.

Inside the Castle Hotel guests can experience a world of magic, with rooms themed around knights, wizards and kingdoms far far away.

Some attraction accommodation sites also have exclusive perks such as nine-hole golf at Alton Towers Resort or events such as Legoland Windsor Resort’s 30th birthday bash.

When looking for a place to stay, make sure to book through the direct resort booking portal only as the offer is not available on third-party websites or with non-Merlin owned hotels.

For example, Chessington World of Adventures’ portal shows Hilton hotels nearby, but the offer will not apply to stays at these hotels.

Instead you should stay at the Azteca and Safari Resort Hotels onsite, which are especially ideal for fans of Julia Donaldson as there is a Gruffalo themed room.

More recently, PAW Patrol-themed hotel rooms opened at the resort.

The MAP allows guests to visit Merlin attractions across the UK for 339 days.

And it isn’t just theme parks…

You could also see breathtaking views of the capital on the London Eye or venture into the past at The London Dungeon.

Alternatively, head to Cadbury World in Birmingham, where visitors can head on a self-guided tour, learning about chocolate-making and the brand’s history.

In total, the experience has 14 interactive zones.

Passholders will also get 10 per cent off of Fastrack products, as well as food and drink.

In other theme park news, one of Europe’s most popular theme parks to open new pirate water coaster, adventure pool and jungle trail.

Plus, UK’s oldest rollercoaster to close for GOOD after 106 years.

The seventh in an occasional series of profiles on Southern California athletes who have flourished in their post-playing careers.

Tai Babilonia’s life changed forever when she was asked to hold a boy’s hand.

At first she resisted.

“I didn’t want to,” she remembered. “He’s a yucky boy.”

But Mabel Fairbanks, Babilonia’s skating coach, wouldn’t take no for an answer, bribing the 8-year-old with stickers and a Barbie doll if she would just reach out and grab the hand of 10-year-old Randy Gardner.

It would be another 40 years before she let go.

By then Tai Babilonia and Randy Gardner had become one of the most decorated pairs in U.S. figure skating history, their individual names eventually melding into one.

“My last name is ‘and Randy,’” Babilonia said. “And I embrace it.”

As a pair “Tai and Randy” won five U.S. championships, medaled in three world championships and qualified for the Olympics twice, all before Babilonia’s 21st birthday. Their success also pushed open doors that had long been closed since Babilonia, Black on her mother’s side and part Filipino and Native American on her dad’s side, was the first U.S. skater from any of those ethnic groups to compete in the Olympics or win a world title.

Among those to follow her were Debi Thomas, a two-time U.S. champion and a bronze medalist at the 1988 Winter Olympics, and Elizabeth Punsalan, a two-time Olympian and five-time national champion in ice dancing.

At about the same time Babilonia and Gardner were moving from competitive skating and the Olympics to the Ice Capades, another young girl was just starting to pursue her own Olympic dreams. Tiffany Chin would go on to win a national championship, two Skate America titles and just miss a medal in the 1984 Winter Games, retiring before she was old enough to legally drink.

In that brief but brilliant career, Chin changed U.S. figure skating forever. She was the country’s first Asian American national champion and first Chinese American Winter Olympian, paving the way for Olympic medalists Kristi Yamaguchi, Nathan Chen, Michelle Kwan and siblings Alex and Maia Shibutani.

After retiring from skating, Babilonia, now 66, dabbled in coaching and sportswear design, became a motivational speaker, an activist and, most importantly, a grandmother. But the legacy Babilonia and Chin created will be on display in Italy this month when the U.S. fields one of the most eclectic Olympic figure skating teams ever, with 12 of the 16 athletes having immigrant parents.

Five of the six singles skaters — Alysa Liu, Isabeau Levito, Ilia Malinin, Maxim Naumov and Andrew Torgashev — are first-generation Americans while the other, women’s national champion Amber Glenn, identifies as pansexual. Pairs skaters Emily Chan, Spencer Howe and Ellie Kam and ice dancers Anthony Ponomarenko, Christina Carreira, Vadym Kolesnik and Emilea Zingas are also immigrants or first-generation Americans while Madison Chock, the reigning Olympic champion in ice dancing, has Hawaiian, Chinese, German, English, Irish, French and Dutch ancestry.

At a time when diversity, equity and inclusion programs are being dismantled, immigrants are being attacked and diversity is labeled a weakness, America’s Olympic figure skaters have come to mirror the country at large.

“It’s wonderful and so important,” said Babilonia. “Especially now.”

Nearly 60 years after Babilonia and Gardner skated together for the first time, the decision to pair them seems inspired, even providential.

It was neither. Fairbanks, Babilonia learned later, simply needed a couple to skate in a club show at the Culver City Ice Arena.

“We just happened to be similar in height. And I guess we were cute,” Babilonia said last month during a lengthy interview at the Colonial Revival-style mansion in the West Adams District that houses the LA84 Foundation.

Gardner was already an excellent skater, as strong and athletic as he was outgoing and friendly; Babilonia was shy and far less steady on the ice. But that wasn’t the only thing that made their pairing unusual.

Gardner was white and Babilonia was Black. And in 1968, asking them to hold hands in public was scandalous, even in Culver City. However, Fairbanks, a legendary coach who had spent much of her life pushing back against convention, didn’t see color. She focused only on talent.

“Mabel was the coach who taught all races, Hispanic, Black, mixed, Jewish,” Babilonia said. “Mabel broke down that wall.”

Fairbanks, who was Black and Seminole, was born in the Deep South at a time when ice rinks were segregated. Even after moving to New York, where she bought a pair of skates for $1 at a pawn shop, then taught herself how to use them, she skated mostly in nightclub shows, where she was limited to jumps and moves that wouldn’t show up the white skaters.

She soon moved to Los Angeles, touring internationally with the Ice Capades and Ice Follies, before becoming a coach and mentoring hundreds of young skaters, including Olympic medalists Scott Hamilton, Yamaguchi and Thomas.

“If it weren’t for Mabel Fairbanks, you wouldn’t have any color in the predominantly white skating world,” said Babilonia, who is shopping a biopic of Fairbanks, who died in 2001.

“People don’t really know her. She’s like a hidden figure.”

Yet three years after Fairbanks made Tai and Randy a pair, they left her for John Nicks, who was coaching at the Paramount Iceland.

“He took our skating to a whole different level. And it happened really quick,” said Babilonia, who still calls her former coach Mr. Nicks. “That’s when we started winning and improving and just really became a great pair of skaters.”

Two years later Babilonia and Gardner won the U.S. junior nationals and three years after that they won the first of five national championships, qualifying for the 1976 Winter Olympics in Austria, where they finished fifth. Gardner wasn’t old enough to vote and Babilonia didn’t have a driver’s license. But together they were holding their own against the best pairs skaters in the world.

“Such an incredible year,” Babilonia said. “We won our first U.S. title, became Olympians, I got my learner’s permit and had a crush on Peter Frampton.”

But they were just getting started. Gardner and Babilonia wouldn’t lose in the U.S. championships for the rest of the decade. And 11 months before the next Olympics, they won their first world championship, then celebrated by skating for the queen of England at Wembley Stadium.

With the Winter Games coming back to the U.S. at Lake Placid, the Americans were favored to keep the Soviet Union off the top step of the medal platform for the first time since 1960, the last time the Olympics were held in the U.S.

Only they never made it to the ice.

Nicks had moved his skaters from Paramount to the Ice Capades Chalet, a buff-colored concrete-block building in Santa Monica, five blocks from the Pacific Ocean. During a training session there, Gardner inflamed a groin injury that had plagued him for months.

It got worse when they got to Lake Placid and Gardner had a Xylocaine injection, but the anesthetic was too strong and it only made things worse; the pain was gone, but now Gardner couldn’t feel his leg at all. They pulled out of the competition moments before it was supposed to begin.

The next morning, with the skaters, their parents and their coach perched on the stage at a high school auditorium for a hastily arranged news conference, hundreds of reporters tried to get a shattered Babilonia to turn on her partner. She didn’t take the bait.

“She totally had my back,” Gardner said. “There was so much camaraderie and trust and love between the two of us. She understood that it was a major injury and it was devastating. It changed the path of our career.”

“I’m not going to say it ruined it,” he added. “It just changed the path.”

Two months after leaving Lake Placid in sorrow, Gardner and Babilonia, who had gone from “Tai and Randy” to the “Heartbreak Kids,” turned pro, signing a three-year contract with the Ice Capades that included endorsement deals.

They never skated in the Olympics again. And while the money was good, the pace was punishing, with eight shows a week on a 30-week tour.

“You’re performing every night, weekends two shows a day,” Babilonia said. “If you don’t pace yourself, which I didn’t, it will rock your world in a negative way.

“You can’t do all the tricks you did as a teenager every night.”

Babilonia had never truly dealt with the emotional pain of the Olympic withdrawal. Now she was also dealing with the strain and fatigue of the ice show schedule as well as an identity crisis.

“Randy figured out how to put Tai and Randy in a box and leave them there and go on with his life,” Babilonia said. “I didn’t know how to separate them from me.”

So she sought answers in amphetamines, heavy drinking and a number of brief but high-profile romances before hitting rock bottom just before her 29th birthday, when she tried to kill herself with an overdose of sleeping pills. Her recovery started seven months later with an emotional first-person account of her fall in People magazine.

“I did it because I knew I had to,” Babilonia, still fit and youthful, said of a confession in which she blamed no one but herself. “I had to stop what I was doing and this was part of my recovery process. I couldn’t say yes quick enough.

“Something inside of me said, ‘This is your moment. Get it out. It may help some people,’” she continued. “And it did.”

The magazine cover story was followed 19 months later by the prime-time NBC movie “On Thin Ice,” which went over much of the same territory, with Babilonia and Gardner playing themselves in many of the skating scenes.

“It took me a while to watch the whole thing. Some scenes were hard,” said Babilonia, who speaks in a confident, careful cadence. “It was just part of my recovery process.”

She’s been sober 17 years and her relationship with Gardner, who came out as gay in 2006 — also in People magazine — has lasted longer than her marriage. Along the way, Babilonia matured from the shy withdrawn child who refused to hold a boy’s hand into a bold, strong and confident woman.

“She’s totally mature. She is worldly. And she’s an advocate for equality in sports, people of color and all that,” said Gardner, 68, whose home in Manhattan Beach is about 10 miles from the Culver City ice rink where he and Babilonia learned to skate once stood.

The former teammates still meet at least once a month and talk on the phone frequently, although they haven’t been on the ice together since Gardner underwent surgery on his back a year ago.

When she stopped skating Babilonia tried coaching, but that didn’t work because she didn’t know how to teach the moves she had so easily mastered. Instead, she launched a clothing line, became a motivational speaker, volunteered with various groups promoting diversity on and off the ice, co-hosted a TV interview show taped in Santa Barbara and, for the last nine years, has co-hosted a holiday skate party for kids from the Union Rescue Mission. She also continues to skate in charity events.

All that in addition to her work with Atoy Wilson, a former U.S. novice champion, on the Mabel Fairbanks biopic, tentatively titled “Black Ice: The Mabel Fairbanks Story.”

“I want to try everything,” she said. “I want to experience everything.”

But her real job, she quickly adds, is being a grandmother to Ryett, her son’s 2-year-old boy in Arizona.

“I love being a grandmother,” she said. “Absolutely love it.”

She is also a prolific presence on social media, where most of her posts are either trenchant comments on the politics of today or black-and-white photos from back in the day, when she and Gardner — Tai and Randy — were winning medals and opening doors, helping to change U.S. figure skating forever.

“I appreciate what we did more as I get older,” Babilonia said. “We were pretty good and we made our mark. We worked hard. We became two-time Olympians. We met the queen of England.

“It’s just wild.”

At this year’s Grammy ceremony, the Recording Academy called on artists Post Malone, Lauryn Hill and Reba McEntire to honor the musicians who died last year.

The annual In Memoriam segment paid tribute to artists including Roberta Flack, D’Angelo and Ozzy Osbourne. From heavy punk numbers to jazzy R&B ballads and solemn country-infused performances, the academy celebrated those who have shaped music, whether the artistry or the business.

It started off with a candlelit tribute from McEntire, Brandy Clark and Lukas Nelson. The trio performed McEntire’s “Trailblazer.” McEntire lost her late stepson, talent manager Brandon Blackstock, last year. As the performance continued, images of people like Connie Francis, Roy Ayers, Joe Ely and Ace Frehley appeared on the screen behind.

Then Post Malone, backed by Andrew Watt, Slash, Duff McKagan and Chad Smith — all artists who worked with Osbourne over the past few years — covered Black Sabbath’s “War Pigs,” complete with bursts of fire and endless guitar riffs. The camera continued to pan over to teary-eyed Kelly and Sharon Osbourne, daughter and wife of the Black Sabbath frontman, who attended the ceremony.

Then, it was Hill’s turn to pay tribute to late R&B pioneer D’Angelo. Behind dark shades and covered in diamonds, the singer started off by saying, “Make time for the people you love while you can.”

The singer was backed by a massive band and started to sing her own track “Nothing Even Matters.” She was soon joined by musicians Lucky Daye, Leon Thomas and Jon Batiste. As they continued to blend the sounds of “Brown Sugar” and “Devil’s Pie,” the giant ensemble shifted gears to pay tribute to Flack.

Throughout the remainder of the segment, Hill acted as a conductor, calling on each musician to sing their parts. They were soon joined by Chaka Khan and John Legend, who sang “Where Is the Love?” By the end of the performance, the setlist came back to the Fugees’ “Killing Me Softly With His Song.” The entire stadium erupted in applause, got on their feet and started to dance along with everyone on stage.

In between the live performance, the academy also showed video tributes for Brian Wilson of the Beach Boys, Bob Weir of the Grateful Dead and Sly Stone.

p]:text-cms-story-body-color-text clearfix”>

MELBOURNE, Australia — Carlos Alcaraz is 22, he’s the youngest man ever to win all four of the major titles in tennis, and he had to achieve what no man previously has done to complete the career Grand Slam in Australia.

The top-ranked Alcaraz dropped the first set of the Australian Open final in 33 minutes Sunday as Novak Djokovic went out hard in pursuit of an unprecedented 25th major title, but the young Spaniard dug deep to win 2-6, 6-2, 6-3, 7-5.

“Means the world to me,” Alcaraz said. “It is a dream come true for me.”

Djokovic had won all 10 of his previous finals at Melbourne Park and, despite being 38, gave himself every chance of extending that streak to 11 when he needed only two sets to win.

Alcaraz rose to the challenge.

“Tennis can change on just one point. One point, one feeling, one shot can change the whole match completely,” he said. “I played well the first set, but you know, in front of me I had a great and inspired Novak, who was playing great, great shots.”

A couple of unforced errors from Djokovic early in the second set gave Alcaraz the confidence.

He scrambled to retrieve shots that usually would be winners for Djokovic, and he kept up intense pressure on the most decorated player in men’s tennis history. There were extended rallies where each player hit enough brilliant shots to usually win a game.

Djokovic has made an art form of rallying from precarious positions. Despite trailing two sets to one, he went within the width of a ball in the fourth set’s ninth game of turning this final around.

After fending off six break points in the set, he exhorted the crowd when he got to 30-30. The crowd responded with chants of “Nole, Nole, Nole!”

When Djokovic earned a breakpoint chance — his first since the second set — he whipped up his supporters again. But when Djokovic sent a forehand long on the next point, Alcaraz took it as a reprieve.

A short forehand winner, a mis-hit from Alcaraz, clipped the net and landed inside the line to give him game point. Then Djokovic hit another forehand long.

Alcaraz responded with a roar, and sealed victory by taking two of the next three games.

As he was leaving the court, Alcaraz signed the lens of the TV camera with a recognition: “Job finished. 4/4 Complete.”

Beirut, Lebanon – Before Israel’s war on Lebanon, Ali (full name withheld for safety reasons) lived in Haddatha, a village in the Bint Jbeil district in the south, about 12km (7.5 miles) from the border with Israel, surrounded by nature where agriculture was intrinsic to life.

Then came Israel’s “hellfire”.

Recommended Stories

list of 3 itemsend of list

At least nine people were killed and some 3,000 injured, including the Iranian ambassador to Lebanon, when thousands of pagers exploded, nearly simultaneously, overwhelming hospitals on September 17, 2024.

Six days later, Israel escalated its attacks across the south, killing nearly 600 people, in what was the country’s deadliest day since the country’s ruinous civil war ended in 1990, and displacing more than one million people.

“Our house was destroyed,” he told Al Jazeera. Ali took refuge in a town about 20km (12.5 miles) north of Haddatha, called Burj Qalaway.

But more than a year later, he is yet to return home despite a ceasefire. He is one of tens of thousands who are still displaced from their homes around Lebanon and who say that what little they have received in support from the Lebanese state or Hezbollah is not enough to rebuild their lives or homes destroyed during the war.

South ‘not safe’

On November 27, 2024, a ceasefire came into effect between Hezbollah and Israel. The agreement brought to an end more than a year of cross-border attacks and a two-month-long Israeli intensification that killed thousands in Lebanon, mostly civilians, and devastated civilian infrastructure.

Under the ceasefire, cross-border attacks were supposed to stop, Hezbollah was to withdraw north of the Litani River, which runs across south Lebanon, and Israel was to withdraw troops that had invaded south Lebanon in October.

Israel, however, never stopped attacking. Its army still occupies five points in southern Lebanon, and during the ceasefire, it razed several villages to the ground.

An estimated 1.2 million people, more than a quarter of the Lebanese population, had been displaced during the war. On the morning of November 27, hundreds of thousands of people streamed south to their villages to return home. But tens of thousands more have been left behind and are still unable to go home.

“The south is not safe,” Ali said. “I am afraid that I might be walking somewhere and a raid will attack a car next to me.”

Israeli attacks continue across the south and the Bekaa Valley in the east on a near-daily basis, with the Lebanese government counting more than 2,000 Israeli violations of the 2024 ceasefire deal in the last three months of 2025.

Ali is not alone. The International Organization for Migration estimates that more than 64,000 people are still internally displaced in Lebanon, according to figures compiled in October 2025.

Entire villages ‘razed’

Some of the 64,000 cannot return to their homes along the border region with Israel. Israeli soldiers still hold five points on Lebanese territory, managing large swaths of south Lebanon through violence and technology: using drones, air raids, shelling or gunfire. Since the ceasefire, Israel has killed more than 330 people in Lebanon, including at least 127 civilians.

Melina*, from Odaisseh, a village on the southern border, lived most of her life in Nabatieh. During the war, she was displaced to Sidon, a southern city about 44km (27 miles) south of Beirut.

“I haven’t been able to visit my village,” she told Al Jazeera. “Psychologically, I can’t bear to see our house, which was completely destroyed, and the entire village was razed to the ground.”

“The security situation remains extremely dangerous,” she said. “You could be shot at by the Israeli side at any moment, and it’s unsafe to travel without a Lebanese army escort.”

Ali runs a market in Burj Qalaway, but he says the income is not enough to rebuild his home. There are also other concerns. Israel has attacked reconstruction equipment in southern Lebanon, drawing criticism from human rights groups.

“Amid the ceasefire, Israeli forces have carried out attacks that unlawfully target reconstruction-related equipment and facilities,” Ramzi Kaiss, Lebanon researcher at Human Rights Watch, said in a December 2025 report. “After reducing many of Lebanon’s southern border towns to rubble, the Israeli military is now making it much more difficult for tens of thousands of residents to rebuild their destroyed homes and return to their towns.”

Some Lebanese also fear a renewed Israeli offensive similar to the one in 2024.

‘Couldn’t see 2cm in front of me’

On July 30, 2024, at about 7:40pm, Ramez* was sitting in his bedroom at home in Haret Hreik, a neighbourhood in Beirut’s southern suburbs referred to locally as Dahiyeh, an area often targeted in the past by Israel for the Hezbollah presence there.

His cats were roaming around the room, and he was busy on his phone when he heard loud explosions.

The war had been raging in the south, but attacks on Beirut and its suburbs were not yet as common. “I heard more than nine bangs,” Ramez said. He ran out of his bedroom to help his family evacuate. He left his door open, he said, so his cats could escape. While telling his mother to grab her things, he heard the loudest bang.

“The whole neighbouring building just collapsed and fell on us,” he said. Israel had just levelled the building next to his, killing Fuad Shukr, a top Hezbollah commander.

“I couldn’t see 2cm in front of me because of the fog and the dust.”

Ramez’s family escaped unscathed, though their house was badly damaged and his sister’s car was destroyed. His cats also survived. He found them the next day.

“I always wondered how people just go through something like this and just move on, saying, OK, Alhamdulillah, everyone is alive,” he says, though, “at that point I kind of understood it”.

Since the end of the war, he has been able to return to his family home in Haret Hreik. But his family had to pay for most of the reconstruction themselves, with little help from the government or any group.

They registered with the government for assistance but said they received only a one-time payment of 30 million Lebanese pounds (a little more than $330).

Hezbollah also sent engineers to assess the damage. In December 2024, the Reuters news agency reported that Hezbollah would pay about $77m and rent to families affected by war. Some locals said payments from the group helped a bit, but others said it had stopped paying nonmembers or tried to undervalue their losses.

“They were very stingy with payments,” Ramez said. “They tried to make us accept low payments, but my mom stood her ground and said it is enough.”

Other people who were displaced by the war told Al Jazeera that the aid provided by the state and Hezbollah was very limited.

War is ‘most terrible’

Reports are mixed over Hezbollah’s financial capability, and it is difficult to determine how badly they have been hit financially after the group’s political and military leadership was devastated by 2024’s war and suffered several Israeli assassinations, including their longtime charismatic leader, Hassan Nasrallah.

The fall of the Bashar al-Assad regime in Syria also dealt Hezbollah a serious blow, disrupting the land route to its main benefactor, Iran – itself now reeling from deadly protests and bracing for a possible US attack. The group is under immense pressure from the Lebanese government to disarm, with the United States and Israel applying pressure.

Further compounding the crisis is the fact that Lebanon is now almost seven years into one of the worst economic crises in more than 150 years, according to the World Bank. This has hit locals hard, with many having their bank accounts frozen and the currency devaluing by more than 90 percent.

This has left many of the displaced feeling abandoned and unsure of how to continue.

There were violent Israeli air raids in the south on Saturday, which continued on Sunday. In the meantime, people like Ali have to continue figuring out ways to survive as their displacement carries on well past the one-year mark.

“We love life, but the situation is not good. Wars break your back,” Ali said. “War is the most terrible thing in the world.”

*Real names withheld for safety reasons.

Joao Sousa contributed to this report.

Bad Bunny’s “Débi Tirar Más Fotos” was named album of the year at Sunday night’s 68th Grammy Awards — the first time a Spanish-language LP has won the Recording Academy’s most prestigious prize.

Bunny delivered the speech primarily in Spanish.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said as the audience rose to its feet.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” he said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, mami, for giving birth to me in Puerto Rico. I love you.”

“For all the people who have lost a loved one and even then have had to continue moving forward and continue with so much strength, this award is for you all.”

Intricately arranged with the sounds of the singer and rapper’s native Puerto Rico, “Débi Tirar Más Fotos” was released to rave reviews in January 2025 and quickly reached No. 1 on the Billboard 200 album chart. Last summer, Bad Bunny supported the project with a 30-date concert residency at San Juan’s José Miguel Agrelot Coliseum; he followed that with the announcement of a world tour that avoided the United States, in part, he told I-D magazine, because of his concern that immigration agents might turn up at shows.

Prior to Sunday’s win, “Débi Tirar Más Fotos” — the title translates in English to “I Should Have Taken More Photos” — was named album of the year at November’s Latin Grammy Awards. Next weekend, Bad Bunny (whose real name is Benito Antonio Martínez Ocasio) will headline the halftime show at Super Bowl LX in Santa Clara.

He won earlier in the night for música urbana album and global music performance.

The other LPs nominated for album of the year were Justin Bieber’s “Swag,” Sabrina Carpenter’s “Man’s Best Friend,” Clipse’s “Let God Sort Em Out,” Lady Gaga’s “Mayhem,” Kendrick Lamar’s “GNX,” Leon Thomas’ “Mutt” and Tyler, the Creator’s “Chromakopia.”

In 2025, Beyoncé took the prize with “Cowboy Carter.”

WASHINGTON — President Trump said Sunday that he will move to close Washington’s Kennedy Center for the Performing Arts for two years starting in July for construction, his latest proposal to upend the storied venue since returning to the White House.

Trump’s announcement on social media follows a wave of cancellations by leading performers, musicians and groups since the president ousted the previous leadership and added his name to the building. Trump made no mention in his post of the recent cancellations.

His proposal, announced days after the premiere of “Melania,” a documentary about the first lady, was shown at the center, is subject to approval by the board of the Kennedy Center, which has been stocked with his handpicked allies. Trump chairs the center’s board of trustees.

“This important decision, based on input from many Highly Respected Experts, will take a tired, broken, and dilapidated Center, one that has been in bad condition, both financially and structurally for many years, and turn it into a World Class Bastion of Arts, Music, and Entertainment,” Trump wrote in his post.

Neither Trump nor Kennedy Center President Ric Grenell, a Trump ally, have provided evidence to back up their claims about the building being in disrepair, and in October, Trump had pledged the center would remain open during renovations. In Sunday’s announcement, he said the center will close July 4, when he said the construction would begin.

“Our goal has always been to not only save and permanently preserve the Center, but to make it the finest Arts Institution in the world,” Grenell said in a post, citing funds Congress approved for repairs.

“This will be a brief closure,” Grenell said. “It desperately needs this renovation and temporarily closing the Center just makes sense — it will enable us to better invest our resources, think bigger and make the historic renovations more comprehensive. It also means we will be finished faster.”

The sudden decision to close and reconstruct the Kennedy Center is certain to spark blowback as Trump revamps the popular venue. The building began as a national cultural center and Congress renamed it as a “living memorial” to President Kennedy — a champion of the arts during his administration — in 1964, in the aftermath of his assassination.

Opened in 1971, it serves as a public showcase year-round for the arts, including the National Symphony Orchestra.

Since Trump returned to the White House, the Kennedy Center is one of many Washington landmarks that he has sought to overhaul in his second term. He demolished the East Wing of the White House and launched a massive $400-million ballroom project, is actively pursuing building a triumphal arch on the other side the Arlington Bridge from the Lincoln Memorial, and has plans for Washington Dulles International Airport.

Leading performing arts groups have pulled out of appearances at the Kennedy Center, most recently composer Philip Glass, who announced his decision to withdraw his Symphony No. 15 “Lincoln” because he said the values of the center today are in “direct conflict” with the message of the piece.

Last month, the Washington National Opera announced that it will move performances away from the Kennedy Center in another high-profile departure after Trump’s takeover of the U.S. capital’s leading performing arts venue.

The head of artistic programming for the center abruptly left his post last week, less than two weeks after being named to the job.

A spokesperson for the Kennedy Center could not immediately be reached and did not respond to an emailed request for comment.

Late last year, as Trump announced his plan to rename the building — adding his name to the building’s main front ahead of that of Kennedy — he drew sharp opposition from members of Congress, and some Kennedy family members.

Kerry Kennedy, a niece of John F. Kennedy, said in a social post on X at the time that she will remove Trump’s name herself with a pickax when his term ends.

Another family member, Maria Shriver, said at the time that it is “beyond comprehension that this sitting president has sought to rename this great memorial dedicated to President Kennedy,” her uncle. “It is beyond wild that he would think adding his name in front of President Kennedy’s name is acceptable. It is not.”

Late Sunday evening, Shriver posted a new comment mimicking Trump’s own voice and style, and suggesting the closure of the venue was meant to deflect from the cancellations.

She said that “entertainers are canceling left and right” and the president has determined that “since the name change no one wants to perform there any longer.”

Trump has decided, she said, it’s best “to close this center down and rebuild a new center” that will bear his name. She asked, “Right?”

One lawmaker, Rep. Joyce Beatty, an Ohio Democrat and ex-officio trustee of the center’s board, sued in December, arguing that “only Congress has the authority to rename the Kennedy Center.”

Price and Mascaro write for the Associated Press. AP writer Darlene Superville contributed to this report.

Kendrick Lamar and SZA’s “Luther” was named record of the year at Sunday night’s 68th Grammy Awards, giving Lamar his second straight win in the category after he took it in 2025 with his smash-hit Drake diss, “Not Like Us.”

The Compton-born rapper is one of only four acts in Grammy history who’ve gone back to back in record of the year, along with Billie Eilish, U2 and Roberta Flack.

Built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 duet “If This World Were Mine” (itself a cover of the song Marvin Gaye and Tammi Terrell introduced in 1967), “Luther” is from Lamar’s sixth studio album, “GNX,” which came out in November 2024.

“Luther forever,” Lamar said while accepting the speech. Cher announced the winner after accepting the Lifetime achievement award, at first just reading off Vandross’ name.

The song — which was produced by Jack Antonoff, Bridgeway, M-Tech, Roselilah, Sounwave and Kamasi Washington — spent 13 weeks atop Billboard’s Hot 100, longer than any other single in 2025. On Spotify, “Luther” has been streamed more than 1.3 billion times.

The other songs nominated for record of the year were Bad Bunny’s “DTMF,” Sabrina Carpenter’s “Manchild,” Doechii’s “Anxiety,” Billie Eilish’s “Wildflower,” Lady Gaga’s “Abracadabra,” Chappell Roan’s “The Subway” and “Apt.” by Rosé and Bruno Mars.

The latest victim succumbing to injuries was an 18-year-old Swiss national.

A teenager injured in the fire that engulfed a Swiss Alpine bar during New Year celebrations has died in hospital, according to Swiss authorities, increasing the death toll of one of the worst disasters in the country’s modern history to 41.

Saturday’s death was announced a month after the inferno at the ski resort of Crans-Montana. Another 115 were injured, most of whom remain in various hospitals.

Recommended Stories

list of 3 itemsend of list

“An 18-year-old Swiss national died at a hospital in Zurich on January 31,” the Wallis canton’s public prosecutor Beatrice Pilloud said in a brief statement.

“The death toll from the fire at Le Constellation bar on January 1, 2026 has now risen to 41.”

Pilloud said no further information would be released at this stage by her office, which is investigating the incident.

Those killed in the disaster were aged 14 to 39, but the majority were teenagers. Only four were aged over 24.

Among the dead are 23 Swiss nationals, including one French-Swiss dual national, and 18 foreigners.

Public prosecutors believe the fire started when revellers raised champagne bottles with sparklers attached too close to sound insulation foam on the ceiling of the bar’s basement.

Authorities are looking into whether the foam conformed to regulations and whether the candles were permitted for use in the bar. They say fire safety inspections had not been carried out since 2019.

Swiss prosecutors have opened a criminal investigation into the owners – French couple Jacques and Jessica Moretti – on suspicion of negligent homicide, negligent bodily harm and causing a fire by negligence.

The court of compulsory measures in the southwestern Valais region on January 12 ordered three months of pretrial detention for Jacques Moretti, but on January 23 ordered his release on bail.

The Crans-Montana municipality’s current head of public safety and a former Crans-Montana fire safety officer are also under criminal investigation.

Following the fire, seriously wounded patients were airlifted to various hospitals and specialist burns units throughout Switzerland and four other European countries.

Switzerland’s Federal Office for Civil Protection told the AFP news agency on Friday that at its last count, as of Monday, 44 patients were being treated abroad.

The Wallis health ministry told AFP that 37 patients were still in Swiss hospitals, as of Monday.

The picture is constantly changing, with patients moving between hospitals for different stages of their treatment, and some patients being readmitted. Some remain in intensive care.

The fire has tested relations with neighbouring Italy, which lost nationals in the blaze and has protested the release on bail of the bar’s owner.

Swiss authorities earlier this week said they would grant the Rome Public Prosecutor’s Office access to evidence gathered.

MILAN, Italy — Two years before the Los Angeles Olympics, the United States is already dominating the narrative in the run-up to the opening ceremony of the Milan-Cortina Winter Games.

International Olympic Committee officials, including President Kirsty Coventry, couldn’t avoid questions relating to ICE and the Jeffrey Epstein files at a news conference in Milan, Italy, on Sunday.

Coventry tried to fend them off by saying it was not the IOC’s place to comment on the issues, but when pressed remarked it was “sad” that such stories were deflecting attention away from the upcoming Olympics.

“I think anything that is distracting from these Games is sad, right? But we’ve learned over the many years … there’s always been something that has taken the lead, leading up to the Games,” Coventry said. “Whether it has been Zika, COVID, there has always been something.

“But what is keeping my faith alive is that when that opening ceremony happens and those athletes start competing, suddenly the world remembers the magic and the spirit that the Games have and they get to suddenly remember what’s actually important and they get to be inspired, and so we’re really looking forward to that.”

Hundreds of demonstrators gathered Saturday in Milan to protest the deployment of U.S. Immigration and Customs Enforcement agents during the upcoming Winter Olympics, although agents would be stationed in a control room and not operating on the streets.

Meanwhile, the latest collection of government files released on Epstein includes emails from 2003 between Casey Wasserman, the head of the Los Angeles Olympics organizing committee, and Epstein’s one-time girlfriend, Ghislaine Maxwell.

“From all the information that we have and I believe that the U.S. authorities, as the other authorities, have made all the clarifications needed, so from our side that’s not for us to further comment on that part of the security. But we’re really looking forward to the Games,” Coventry said when asked about the presence of ICE agents in Milan.

She was even less responsive when asked about Wasserman.

“We didn’t discuss it yesterday and I believe Mr. Wasserman has put out his statement and we now have nothing further to add,” said Coventry, who was elected just over 10 months ago as the first female IOC president.

The upcoming Olympics run from Friday through Feb. 22. U.S. Vice President JD Vance will lead an American delegation to the Milan-Cortina Games and attend the opening ceremony.

Matar writes for the Associated Press.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But such is the life of a queen.

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

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

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

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

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

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

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

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

How do you find the missing?

If you do find them, how can you help?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cook did not take this advice.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An election-year tax revolt

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

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

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

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

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

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

Will there be replacement revenue?

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

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

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

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

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

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

A shift from property to sales taxes

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

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

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

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

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

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

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

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

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

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

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

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

And this is ruining baseball?

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

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

And this is ruining baseball?

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

This is what winning looks like.

This is why winning is worth it.

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

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

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

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

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

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

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

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

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

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

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

And Rojas said he hears that a lot.

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

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

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

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

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

OK, then.

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

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

And this is ruining baseball?

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

Like he said, a good thing.

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

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

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

Three-peat, you’re up.

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

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

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

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

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

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

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

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

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

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

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

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

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

This interview has been lightly edited for length and clarity.

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

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

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

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

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

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

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

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

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

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

How did your verse come together?

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

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

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

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

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

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

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

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

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

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

That is weird.

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

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

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

What did they tell you exactly?

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

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

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

What have you learned or taken away from this situation?

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

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

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

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

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

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

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

What else do you have coming up?

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