New York

WASHINGTON — President Trump has begun demolition of the East Wing as he remakes the White House in his image, ignoring rules, breaking promises and taking a wrecking ball to the approval process in an echo of the strategies he deployed in Florida and New York as he built his real estate empire.

An excavator ripped off the facade and parts of the roof on Monday, exposing the stone shell below. Windows have been removed. A truck carried trees outside the White House gates and down Pennsylvania Avenue. A crowd gathered outside to witness the partial tear-down of the historic building — which Trump said just weeks ago would not be touched in his plans to build a new ballroom.

“Over the next few days, it’s going to be demolished,” Trump said at a White House dinner last week for donors to the 90,000-square-foot structure estimated to cost between $200 million and $250 million.

“Everything out there is coming down, and we’re replacing it with one of the most beautiful ballrooms that you’ve ever seen.”

He described the forthcoming structure as “four sides of beautiful glass.”

But similar to the rule-breaking tactics he used when pushing through changes to Mar-a-Lago in Palm Beach and building his Trump Tower in New York, Trump’s sudden and dramatic White House overhaul has been made possible by his disdain for the rules that have protected Washington’s cohesive design. To date, he hasn’t submitted plans for review to the National Capital Planning Commission, which oversees renovation and additions to the federal buildings in the capital, including the president’s historic residence.

Not that the commission — now stacked with Trump’s allies — is complaining.

This summer, the president appointed his top aides — staff secretary Will Scharf, deputy chief of staff James Blair and Office of Management and Budget energy official Stuart Levenbach — to sit on the governing body.

Scharf, a longtime loyal Trump aide who hands him his executive orders to sign, was named chairman by the president. The appointments were so sudden that Scharf, at his first commission meeting on July 10, apologized for not connecting with any of his fellow commissioners ahead of time, noting his appointment had happened the night before.

At the commission’s next meeting, on Sept. 4, Scharf launched into a defense of Trump’s building project, arguing the commission does not have jurisdiction over demolition and site preparation work for federal property; that it just deals with construction.

“I think any assertion that this commission should have been consulted earlier than it has been, or it will be, is simply false,” he said.

The commission will just “play a role in the ballroom project when the time is appropriate for us to do so,” he said.

Not so fast, say past commissioners.

Preston Bryant, a former chairman of the commission, told the Miami Herald in an email that in his nine years on the job “the Commission always works on proposed capital projects in three stages — Conceptual, Preliminary Approval, and Final Approval. Even before conceptual, there’s early consultation.”

Trump is familiar with the process. When he and his Trump Organization were remodeling the Old Post Office Pavilion into a Trump Hotel in 2014, they had to get their plans approved by the commission, which was strict in its adherence to preserving the historical structure of the building.

His team submitted a 52-page proposal showing the design changes, drawings of the new interior and exterior, and detailed the effect the changes would have on local traffic.

But now Trump has plowed on, bulldozing any opposition.

“We’ll have the most beautiful ballroom in the country,” he said Monday at an event in the East Room of the White House, apologizing for any construction noise the guests may hear. “It just started today so that’s good luck.”

The White House did not respond to a request for comment. Trump, in a post on Truth Social, said the new ballroom will be “completely separate from the White House itself, the East Wing is being fully modernized as part of this process, and will be more beautiful than ever when it is complete!”

As photos and videos of the destruction went viral on social media, his top administration aides took to their accounts to defend the project, pointing out that the ballroom was being paid for with private donations and noting other presidents have made changes to the White House.

Past presidents, however, consulted advisers and architects, along with groups like the White House Historical Association and the Committee for the Preservation of the White House in addition to working with the commission, which is currently closed as part of the government shutdown.

One former commissioner noted that Washington, D.C., is a carefully planned city and that the commission strives to keep to the original vision of Pierre L’Enfant, who designed the layout of the capitol.

“If you don’t have a review process you’re basically saying one individual can say what the capital looks like. Washington doesn’t look this way by accident,” the commissioner, who asked for anonymity in order to speak freely, said.

Trump’s history of flouting the rules

Brushing aside red tape has long been a Trump strategy when it comes to changes at historic properties.

In 2006, Trump added an 80-foot flagpole with a 5-feet-by-25-feet flag on the front lawn of Mar-a-Lago — without the proper permit or permission. Palm Beach restricts flagpoles to no higher than 42 feet and flags that are a maximum of 4 feet by 6 feet.

The town fined Trump $250 a day. He countered with a $250 million lawsuit, accusing Palm Beach of violating his First Amendment rights and publicly blasted local officials for fining his patriotic display.

Trump and the town government finally came to an agreement: Trump filed for a permit and was allowed an oversized pole that was 10 feet shorter than the original pole. In return he would donate $100,000 to veterans’ charities.

He also warred with Palm Beach over his original plan for Mar-a-Lago, which was to turn its 17 acres into a subdivision. With millions in upkeep and no income generated, the property was costing him a fortune.

The Palm Beach Town Council vetoed all his construction plans. Once again, Trump sued.

Another deal was made: Trump offered to drop his lawsuit if the town let him turn the estate into a lucrative private club. The council agreed but also set a series of requirements, including capping the membership price and its capacity along with a restriction that no one was to spend more than 21 nights a year at the property.

Trump, however, has hiked the membership fees and, after he left the White House in the first term, he named Mar-a-Lago his permanent residence, getting an exemption to the 21-night stay rule.

Similar actions took place when he built Trump Tower in New York.

In 1980, Trump acquired the historic Bonwit Teller building. He demolished the 1929 Art Deco building to build his namesake tower.

Before the project began, several prominent residents expressed concern about the original building’s limestone relief panels, considered prominent works of art.

Trump agreed to preserve the panels and donate them to The Metropolitan Museum of Art.

But as construction continued, Trump changed his mind and had the panels demolished with the building, saying they had little value and were “without artistic merit.”

It’s a slight still felt in some circles in New York society.

‘Pays total respect to the existing building’

Back in Washington, heads are shaking over the demolition of one-third of the White House structure.

After all, in July, Trump said the current building wouldn’t be touched.

“It won’t interfere with the current building. It won’t be. It’ll be near it but not touching it — and pays total respect to the existing building, which I’m the biggest fan of,” he said.

Now, in addition to the destruction of the wing, he may touch parts of the original White House. Trump on Monday indicated part of one of East Wing walls will come down to connect his ballroom to the residence.

“That’s a knockout panel — you knock it out,” he explained.

The East Wing was built in 1902 as a guest entrance and expanded in 1942 by President Franklin D. Roosevelt. It houses the offices of the first lady and her staff, the military office and the visitors office.

It’s unclear what process FDR went through. The planning commission wasn’t established until 1952. But part of the reason he had it built was to cover the underground presidential bunker which was installed for security reasons.

Trump has already made his mark on the White House. He’s added gold gilding to the Oval Office and stacked its walls with portraits. He’s moved around presidential portraits throughout the complex and added paintings of himself.

On the colonnade, which is the walkway leading from the residence to the West Wing, Trump added a photo of each American president. One exception was Joe Biden. Trump instead placed a photo of a pen, referring to his constant criticism for Biden using the auto pen for his signature during his presidency.

He paved over the Rose Garden to make it look similar to the patio at Mar-a-Lago, putting out chairs and tables with yellow umbrellas brought up from his Florida club. And he’s installed two massive flags atop large poles — one on the North Lawn and one on the South Lawn.

And there could be more changes to come.

Scharf, at his September planning commission meeting, mentioned an upcoming beautification and redesign of Pennsylvania Avenue.

He didn’t offer any details but an earlier presentation to the commission showed plans to turn the iconic avenue into a more pedestrian friendly walkway, with a national stage for events, markets and green spaces.

The Eisenhower Executive Office Building, which sits next door to the White House and houses most of the administration staff, could be in his sights. In his first term, Trump mulled adding gold leaf to the white granite building.

But, for now, Trump is working on plans to build a ceremonial arch outside of Arlington National Cemetery, on a traffic circle that sits between it and Memorial Bridge.

It would commemorate the nation’s 250th anniversary next year. The president showed off design models and drawings to the ballroom donors, telling them there were three sizes to pick from and he was leaning toward the largest.

“Whichever one would look good. I happen to think the large one,” Trump said as the group laughed. “Why are you shocked?”

The drawings show an arch similar to France’s Arc de Triomphe with columns, eagles, wreaths and a gilded, winged figure.

Trump, earlier this month, had a model of it on his desk in the Oval Office when he was speaking to reporters on another matter.

The journalists noticed the piece and asked who it was for.

“Me,” he replied.

Emily Goodin writes for The Miami Herald and Tribune News Services.

Trigger warning for any daughter who has ever had a fraught relationship with their mother: Gish Jen’s remarkable and heartbreaking latest book, “Bad Bad Girl,” may prompt a flood of feelings not felt since adolescence. This marvel of a mash-up — part novel, part memoir, part effort to reconnect with a dead parent who never uttered an “I love you” — has as many pain points as life lessons. Quite a few of the latter — mostly delivered in the form of Chinese proverbs — are dropped by the author’s parents, Chinese immigrants who met in New York as graduate students. Among the pearls of wisdom that stick with Jen, their eldest girl and a keen observer of her parents: “When you drink the water, remember the spring.”

In this, Jen’s 10th book, she wistfully, unsparingly commemorates that “spring” — a punishing mother she nevertheless credits for “biting my heel.” A master of the art of withholding when it came to praise or affection, her mother had no compunctions about delivering ego-shattering put-downs and physical punishments to Jen for being “too smart for her own good.” And yet, Jen writes: “I have thrived.”

Gish Jen has brilliantly structured “Bad Bad Girl” so that invented exchanges with her mother keep returning us not only to the relationship between mother and daughter, but to the present.

(Basso Cannarsa)

Still, she is not at peace. Even after her mother’s death in 2020 at 96, that censorious voice remained “embedded in my most primitive responses, in my very limbic system.” “You were a mystery Ma,” Jen writes. “Why, why, why were you the way you were?” The writer’s instinct kicks in: “If I write about you, if I write to you, will I understand you better?”

“Bad Bad Girl” constitutes a heroic effort to do just that. But soon after Jen embarks on that quest, she realizes that while many mothers want their daughters to show interest in them and listen to their stories, “they were not my mother.” Without much to go on in the way of shared memories or documentary evidence, Jen decides to recalibrate. Instead of writing a straight memoir, she’ll chronicle what she can and construct a fictional narrative around the rest. The result is a heart-piercingly personal work that also imparts universal truths about the immigrant experience — and what it is to be a daughter, a mother and a woman in a world where men are the more valued of the sexes. If there is such a thing as an intimate epic, this is it.

Jen’s mother Agnes — Loo Shu-hsin, as she was originally named — was born in 1925 Shanghai to a wealthy and prominent banker and his much younger wife. In Part I, we are introduced to the lush beauty and extraordinary privilege Agnes was born into, sequestered in a mansion situated in the “international” section of Shanghai, staffed by maids, cooks, nursemaids, chauffeurs and bodyguards. “Proper though she may have been,” Agnes’ mother “did smoke opium.” Apparently, it was good for cramps.

Agnes was the firstborn child, a disappointment in her gender. As tradition dictated, her placenta was hurled into the Huangpu River; when it floated away, it was deemed that she too “would be raised and fed, only to drift away.” Agnes’ mother never bonded with her daughter and showed her little attention except to object to her daughter’s clear intelligence and closeness with her nursemaid. (By age 6 and beginning to read, Agnes still hadn’t been weaned.) By contrast, her father delighted in his daughter’s zeal for learning. The prevailing view was that “to educate a girl was like washing coal; it made no sense.” Still, her father enrolled her in an elite Catholic school where she was nurtured by Mother Greenough, a nun with a doctorate. She praised Agnes for her intellect and encouraged her to be ambitious. After completing her undergraduate studies amid the Japanese invasion and World War II, in the fall of 1947, after peace had finally descended, Agnes declared her intention to leave for the United States to pursue a PhD. Her father embraced that decision, in part because the communist takeover loomed and he hoped at least his eldest child could escape what was to come. “My favorite daughter, so smart and brave,” he pronounces, as the ship she boards sets sail for San Francisco.

Jen has brilliantly structured “Bad Bad Girl” so that invented exchanges with her mother — post-death, printed in bold type and interspersed throughout — keep returning us not only to the relationship between mother and daughter, but to the present. That dialogue is conversational and often funny, in contrast to the unfolding chronicle of Agnes’ journey as a stranger in a strange land. She finds her new countrymen puzzling in nearly every way. For example, “That was how lonely Americans were,” she observes, “that they should not only feed their dogs but walk them every day, rain or shine.”

Initially, Agnes’ spirits are bolstered by her privilege and her parents’ checks. Soon after arriving in New York City to begin graduate school, though, the money stops coming. The communist takeover is complete and, as she gradually discovers through their letters, now they seek financial support from her. Agnes, who’s never boiled an egg, sets to work typing and translating for her still-rich Chinese classmates. She meets and marries fellow student Jen Chao-Pe, and together they move into a dilapidated walk-up in Washington Heights, where Agnes learns to scrimp and save and paint her own walls. Her husband teaches her to cook. When she gets pregnant with her son, Reuben, she is laid low and takes a temporary leave of absence from school. Soon she is pregnant with Lillian, later nicknamed “Gish” for the silent film actor, and motherhood overwhelms her. Three more children come. Of the five, Gish is her least favorite, a girl every bit as clever as she was — a reminder of what she’s permanently put on the back burner. Whatever maternal feelings she has for her other children are missing when it comes to Gish, who becomes her mother’s scapegoat and punching bag.

Miraculously, Gish appears to have been mostly a happy child who excels socially and academically. After being accepted to every university she applies to, she chooses Harvard. She attends graduate school at Stanford and begins to pursue a writing career. She meets her husband, David, to whom she’s been married ever since — for 42 years. They have a son, Luke, and a daughter, Paloma. Jen’s children know how difficult their grandmother has been, and Paloma offers this to her mother by way of consolation: “The effects of trauma can’t be washed away in a generation,” something she’s read in a book. “You can’t get rid of it all, but you did a good job,” she adds.

How rich this book is, and how humane. Unlike, for example, Molly Jong-Fast’s merciless “How to Lose Your Mother,” “Bad Bad Girl” doesn’t read like a hit job. It’s suffused with love and a desire to finally understand. “You shut me out the way you shut your mother out. … What was my crime?” Jen challenges her mother in one of their imagined exchanges. “You were a pain in the neck,” Agnes observes, in another.

“She does not say ‘I love you’ back; she never has,” Jen writes. She doesn’t put those words in Agnes’ mouth here, even when she has the chance. But Jen does venture this about her mother: “I like to think (she) would finally agree both that this book is a novel and that there might be some truth to it.” And then in their final imagined exchange: “Bad, bad girl! Who says you can write a book like that?” Jen laughs. “That’s more like it.”

Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Ace Frehley, who played lead guitar as a founding member of the face-painted, blood-spitting, fire-breathing hard-rock band Kiss, died Thursday in Morristown, N.J. He was 74.

His death was announced by his family, which said he’d recently suffered a fall. “In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth,” the family said in a statement.

In his alter ego as the Spaceman, Frehley played with the original incarnation of Kiss for less than a decade, from 1973 — when he formed the group in New York with Paul Stanley, Gene Simmons and Peter Criss — until 1982, when he quit not long after Criss left. Yet he was instrumental to the creation of the band’s stomping and glittery sound as heard in songs like “Detroit Rock City,” “Rock and Roll All Nite,” “Strutter” and “I Was Made for Lovin’ You.” In the late ’70s, those hits — along with Kiss’ over-the-top live show — made the group an inescapable pop-cultural presence seen in comic books and on lunch boxes; today the group is widely viewed as an early pioneer of rock ’n’ roll merchandising.

A member of the Rock & Roll Hall of Fame, Frehley rejoined Kiss in 1996 for a highly successful reunion, then left again in 2002 to return to the solo career he’d started in the early ’80s. In 2023, Kiss completed what Simmons and Stanley called a farewell tour with a hometown show at New York’s Madison Square Garden.

This obituary will be updated.

CHICAGO — Federal immigration officers in the Chicago area will be required to wear body cameras, a judge said Thursday after seeing tear gas and other aggressive steps used against protesters.

U.S. District Judge Sara Ellis said she was a “little startled” after seeing TV images of clashes between agents and the public during President Donald Trump’s administration’s immigration crackdown.

“I live in Chicago if folks haven’t noticed,” she said. “And I’m not blind, right?”

Community efforts to oppose U.S. Immigration and Customs Enforcement have ramped up in the nation’s third-largest city, where neighborhood groups have assembled to monitor ICE activity and film incidents involving agents. More than 1,000 immigrants have been arrested since September.

Separately, the Trump administration has tried to deploy National Guard troops, but the strategy was halted last week by a different judge.

Ellis last week said agents in the area must wear badges, and she banned them from using certain riot control techniques against peaceful protesters and journalists.

“I’m having concerns about my order being followed,” the judge said.

“I am adding that all agents who are operating in Operation Midway Blitz are to wear body-worn cameras, and they are to be on,” Ellis said, referring to the government’s name for the crackdown.

U.S. Justice Department attorney Sean Skedzielewski laid blame with “one-sided and selectively edited media reports.” He also said it wouldn’t be possible to immediately distribute cameras.

“I understand that. I would not be expecting agents to wear body-worn cameras they do not have,” Ellis said, adding that the details could be worked out later.

She said the field director of the enforcement effort must appear in court Monday.

In 2024, Immigration and Customs Enforcement began deploying about 1,600 body cameras to agents assigned to Enforcement and Removal Operations.

At the time, officials said they would be provided to agents in Baltimore, Philadelphia, Washington, Buffalo, New York and Detroit. Other Homeland Security Department agencies require some agents to wear cameras. U.S. Customs and Border Protection has released body-camera video when force has been used by its agents or officers.

Fernando writes for the Associated Press.

The public release of a Young Republican group chat that included racist language, jokes about rape and flippant commentary on gas chambers prompted bipartisan calls for those involved to be removed from or resign their positions.

The Young Republican National Federation, the GOP’s political organization for Republicans between 18 and 40, called for those involved to step down from the organization. The group described the exchanges, first reported by Politico, as “unbecoming of any Republican.”

Republican Vice President JD Vance, however, has weighed in several times to speak out against what he characterized as “pearl clutching” over the leaked messages.

Politico obtained months of exchanges from a Telegram conversation between leaders and members of the Young Republican National Federation and some of its affiliates in New York, Kansas, Arizona and Vermont.

Here’s a rundown of reaction to the inflammatory group chat, in which the operatives and officials involved openly worried that their comments might be leaked, even as they continued their conversation:

Vance

After Politico’s initial report Tuesday, Vance posted on X a screen grab from 2022 text messages in which Jay Jones, the Democratic candidate in Virginia’s attorney general race, suggested that a prominent Republican get “two bullets to the head.”

“This is far worse than anything said in a college group chat, and the guy who said it could become the AG of Virginia,” Vance wrote Tuesday. “I refuse to join the pearl clutching when powerful people call for political violence.”

Jones has taken “full responsibility” for his comments and offered a public apology to Todd Gilbert, who then was speaker of Virginia’s House of Delegates.

Vance reiterated his initial sentiment Wednesday on “ The Charlie Kirk Show ” podcast, saying when asked about the reporting that a “person seriously wishing for political violence and political assassination is 1,000 times worse than what a bunch of young people, a bunch of kids say in a group chat, however offensive it might be.”

Vance, 41, said he grew up in a different era where “most of what I, the stupid things that I did as a teenager and as a young adult, they’re not on the internet.”

The father of three said he would caution his own children, “especially my boys, don’t put things on the internet, like, be careful with what you post. If you put something in a group chat, assume that some scumbag is going to leak it in an effort to try to cause you harm or cause your family harm.”

“I really don’t want to us to grow up in a country where a kid telling a stupid joke, telling a very offensive, stupid joke is cause to ruin their lives,” Vance said.

Republicans

Other Republicans demanded more immediate intervention. Republican legislative leaders in Vermont, along with Gov. Phil Scott — also a Republican — called for the resignation of state Sen. Sam Douglass, revealed to be a participant in the chat. A joint statement from the GOP lawmakers termed the comments “unacceptable and deeply disturbing.”

Saying she was “absolutely appalled to learn about the alleged comments made by leaders of the New York State Young Republicans,” Rep. Elise Stefanik of New York called for those involved to step down from their positions. Danedri Herbert, chair of the Kansas GOP, said the remarks “do not reflect the beliefs of Republicans and certainly not of Kansas Republicans at large.”

In a statement posted to X on Tuesday, the Young Republican National Federation said it was “appalled” by the reported messages and calling for those involved to resign from their positions within the organization. Young Republican leaders said the behavior was “disgraceful, unbecoming of any Republican, and stands in direct opposition to the values our movement represents.”

Democrats

Democrats have been more uniform in their condemnation. On Wednesday, California Gov. Gavin Newsom wrote to House Oversight Committee Chairman James Comer asking for an investigation into the “vile and offensive text messages,” which he called “the definition of conduct that can create a hostile and discriminatory environment that violates civil rights laws.”

Speaking on the Senate floor, Senate Democratic leader Charles E. Schumer of New York on Tuesday described the chat as “revolting,” calling for Republicans including President Trump and Vance to “condemn these comments swiftly and unequivocally.”

Asked about the reporting, New York Gov. Kathy Hochul called the exchanges “vile” and called for consequences for those involved.

“Kick them out of the party. Take away their official roles. Stop using them as campaign advisers,” Hochul said. “There needs to be consequences. This bulls—- has to stop.”

Kinnard writes for the Associated Press. AP writer Michelle L. Price contributed to this report.

After Contreras’ offensive coordinator, Carlos Trujillo, did his work on Friday night during his team’s 39-14 win over Hollywood, he was picked up by car and whisked off to Los Angeles International Airport to take a red-eye flight to Chicago so he could complete the 11th marathon of his life.

“I will never be crazy enough to do one,” Contreras head coach Manuel Guevara said.

Running 26.2 miles is pretty challenging, but Trujillo has found something he enjoys, and players admire his commitment.

“The entire varsity [team] wished him good luck,” Guevara said. “It teaches the kids that coaches challenge themselves in different ways.”

He’ll be back for practice on Tuesday as Contreras (4-3, 2-0) prepares for a key Central League game against Bernstein on Thursday night.

Trujillo, 43, said he started running marathons when he was head coach at North Hollywood. He has run marathons in Los Angeles, San Francisco, Las Vegas and New York besides Chicago.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

When we first encounter Daniel Day-Lewis in “Anemone,” we only see him from the back, but there’s no mistaking him. Chopping wood outside his character’s rustic cabin in the middle of nowhere, he drives the ax down again and again, ferociously focused on the task at hand. At his best, which was often, Day-Lewis pursued acting with a primal clarity. Fittingly, his return to the big screen after announcing a retirement in 2017 is in a movie that exudes the same stark, elemental quality. He didn’t just co-write this tale of two estranged brothers excavating their complicated history — he imbues it with his essence, its reason for being.

“Anemone” isn’t just a film about family but one made by a father and his son. It’s the feature directorial debut of Ronan Day-Lewis, who collaborated with his Oscar-winning dad on the screenplay. Ronan, better known as a painter in New York’s contemporary art world, chronicles a collection of still lives who jostle themselves out of an emotional stupor.

Set in England some time during the mid-1990s, the movie opens as Jem (Sean Bean) says goodbye to his melancholy partner Nessa (Samantha Morton) and troubled son Brian (Samuel Bottomley) to venture out into the forest to reconnect with his younger brother Ray (Daniel Day-Lewis), whom he hasn’t spoken to in 20 years. A deeply religious man — he has “Only God Can Judge Me” sternly tattooed across his back — Jem is on a mission whose purpose will only slowly be revealed. When he arrives at Ray’s cabin, Ray knows it’s him before he even sets eyes on his brother. For several agonizing minutes, they sit together saying nothing, as Black Sabbath’s mystical ballad “Solitude” plays softly on the stereo. The tense silence will be the first of several battles of will between the two men, neither willing to yield.

Day-Lewis, now 68 and whose last film was Paul Thomas Anderson’s “Phantom Thread,” seems carved out of stone as Ray, his close-cropped hair and imposing gray goatee suggesting a man who doesn’t just live off the grid but thrives there. Lean and athletic, with a wildness in his eyes, Ray displays the same antagonism as Day-Lewis’ Bill the Butcher from “Gangs of New York” or Daniel Plainview in “There Will Be Blood.” Ray’s mysterious and fraught history as a member of the British military during the Troubles is a festering boil this film will eventually lance. His brother, who also served in the military, has come to speak to Ray about something more personal, but the hells they experienced in that conflict are the larger issue they must confront.

Shot by cinematographer Ben Fordesman in the Welsh countryside, “Anemone” takes place largely in a sprawling woods, Ronan Day-Lewis lending the flinty drama a mythic grandeur. Bobby Krlic’s mournful score is alternately dreamy and eerie, the instrumental music abruptly cutting out in the middle of a hypnotic passage. Wordless interludes find Jem and Ray dancing to music or sparring as boxers, their simmering feud reduced to its core elements of rugged masculinity and sibling rivalry. The artist-turned-filmmaker even incorporates a striking image from one of his oils — that of a translucent horselike creature — as an enigmatic visual motif that proves more ponderous than poetic.

This is not the first time Daniel Day-Lewis has worked closely with family. Twenty years ago, he starred in his wife Rebecca Miller’s father-daughter fable “The Ballad of Jack and Rose.” Both that film and “Anemone” concern solitary men who opted out of society, only to discover that such a plan is difficult to sustain. But they also both suffer from what might be described as an excess of dramatic seriousness, which is especially true of “Anemone.” Whether it’s Morton’s perpetually scowling expression in the infrequent cutaways to Brian’s life back home or the on-the-nose emphasis on looming gray clouds, there’s no question a storm is coming. Even “Anemone’s” rare moments of levity feel drained of color, the weight of this family’s Dark Past so severe that not an ounce of light (or lightness) can be permitted to escape.

Not surprisingly, the star almost makes the movie’s suffocating gloom resonate. “Anemone” allows Day-Lewis to be volcanic when Ray launches into a disturbing, ultimately revolting monologue about a recent run-in with a pedophiliac priest from childhood. Later, when the film finally explains why Ray abandoned the world, Day-Lewis delivers a teary confession that doesn’t have much fresh to say about the insanity of war but is nonetheless ennobled by how he unburdens his stoic character through cascading waves of anger and shame.

Even when he’s been fiery, nearly frothing at the mouth, Day-Lewis has always been a master of stillness, relying on his tall, taut frame to hint at the formidable power or menace underneath. (When his characters explode, it’s shocking, and yet we somehow knew the blast was imminent.) For Ray, a man full of rage who has no patience for religion, sentimentality or forgiveness, his brother’s arrival is an unwelcome event, and even when a slight thawing occurs between them, Day-Lewis remains coiled, ready to strike, their fragile truce constantly in danger of being upended.

But because Jem, like so many of these characters, is underwritten, Bean has to fall back on generalized manly intensity, which turns their showdowns into actorly exercises. The interactions are bracing but also a bit studied — the performers’ technique is more impressive than the story, which too often is merely a delivery device for misery disguised as searing truth.

There’s reason to celebrate that Daniel Day-Lewis has chosen, at least temporarily, to cancel his retirement, but “Anemone” as a whole strains for a greatness that its star effortlessly conveys. Amid the film’s self-conscious depiction of a brewing tempest, he remains a true force of nature.

Donald Trump has made politics into a dystopian reality show he loves to host, but Democratic leaders Chuck Schumer and Hakeem Jeffries are playing by the old rules — and the mismatch may cause Democrats to get blamed for a government shutdown.

This is not because they’re dumb (they’re not) or incompetent (as the top Democrats of the Senate and House and as representatives of New York, both have risen to positions that require a Lyndon Baines Johnson-esque dexterity most of us couldn’t sustain for a single PTA meeting).

You can see it playing out in the government shutdown. Schumer and Jeffries seem almost neurologically incapable of operating in the world Trump has created — one where politics is less about governing or even persuasion, and more about staying on offense and generating spectacle.

Schumer exudes old-fashioned backroom politics and insider deal-making, which is another way of saying that he’s scripted, sweaty and stilted. It’s not that he’s bad at speaking; it’s that the kind of speaking he has mastered — the methodical, over-enunciated style that once charmed donors and editorial boards — is the equivalent of trying to fax something in 2025.

Jeffries, by contrast, is calm and disciplined. He speaks slowly, often channeling a rhythmic pattern that is reminiscent of a preacher or litigator. In a different era — the kind of era when “normal politics” still existed — this trait might have worked brilliantly. Today, it just feels tired. He’s supposed to be the hip one, once marketed as a “bad, brilliant brother from Brooklyn.” But his recent attempts at communication feel more like a corporate onboarding seminar.

And it’s not like he’s compensating for this shortcoming by electrifying the progressive base. Jeffries’ recent praise for New York Mayor Eric Adams (calling him a man who “served courageously and authentically for decades”) was a bit like praising Nickelback for artistic innovation. It’s not just inaccurate; it’s weirdly tone deaf to the moment.

To be fair, competing with Trump’s megaphone requires a skill set that is closer to professional wrestling than to 20th century politics. Trump is chaotic and often incoherent to the point of parody. But, and this is key, he never sounds like a normal politician.

In a game where authenticity — however poorly defined and cynically constructed — is the only real currency, the Democrats’ undynamic duo come across as high-functioning androids.

Countering Trump’s superpower calls for Democrats who can compete in the attention economy: leaders who feel authentic, actually enjoy picking constant political fights and understand that “going viral” is the new “getting quoted in the New York Times.”

Indeed, the only Democrats who have shown any capacity for being able to survive in this era have been Rep. Alexandria Ocasio-Cortez of New York and California Gov. Gavin Newsom.

Schumer and Jeffries do not have these skills, despite having plenty of material to work with.

Case in point: Republicans are about to make healthcare more expensive for millions of Americans. In theory, that’s a devastating talking point. In practice, it’s difficult to imagine Schumer and Jeffries delivering it in a way that can compete with Trump’s bogus assertion that the Democrats are shutting down the government because they want free healthcare for illegal immigrants and “transgender for everybody,” whatever that means.

Faced with these mistruths and the anemic response we’re getting from Schumer and Jeffries, the best-case scenario may be that Republicans — by virtue of being the “anti-government” party — take some blame for a government shutdown. But that’s not a strategy. That’s hoping partisan inertia is still on your side.

Regardless, the shutdown is merely the latest example of Democrats struggling to compete with MAGA. The larger problem is that the Democratic Party doesn’t really have a communicator right now. It hasn’t had one since Barack Obama left the stage.

It’s probably not fair to compare a congressional leader with a presidential candidate. But even by the standards of modern congressional leaders, Schumer and Jeffries are ill-equipped for the task at hand.

Democrats need someone with Newt Gingrich’s manic energy, revolutionary zeal and theatrical flair, coupled with Nancy Pelosi’s more pragmatic toughness and ruthless discipline. This is to say, someone who understands that politics is now a form of entertainment, but who still has the moral seriousness to prevent it from devolving totally into nihilism.

Instead, they’ve got two men who might as well be AM radio hosts trying to livestream on Twitch.

Ultimately, the Democrats’ communications crisis won’t be solved until they have a presidential nominee who can actually speak the language of the moment. Until they can find one, Democrats are stuck with two guys who are no match against a man who has turned political chaos into performance art.

And if Democrats don’t find one — and soon! — they won’t just lose the narrative: They’ll lose the country that depends on it.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”

WASHINGTON — The Trump administration said Wednesday that it was putting a hold on roughly $18 billion to fund a new rail tunnel beneath the Hudson River between New York and New Jersey and the city’s expanded Second Avenue subway project because of the government shutdown.

The White House budget director, Russ Vought, said on a post on X that the step was taken due to the Republican administration’s belief that the money was “based on unconstitutional DEI principles,” a reference to diversity, equity and inclusion.

But an administration official, who was not authorized to discuss the matter publicly and insisted on anonymity to discuss the hold, said the government shutdown that started at midnight meant that the Transportation Department employees responsible for reimbursing workers on the projects had been furloughed, so the money was being withheld.

The suspension of funds is likely meant to target Senate Democratic leader Charles E. Schumer of New York, whom the White House is blaming for the shutdown.

In a 2023 interview with the Associated Press, Schumer said he and then-President Biden were both “giddy” over the rail tunnel project, adding that it was all they talked about in the presidential limousine as they rode to the site.

New York Gov. Kathy Hochul, a Democrat, reacting to the news at a news conference about the federal government shutdown, told reporters, “The bad news just keeps coming” and that “they’re trying to make culture wars be the reason why.”

“That’s what a partnership with Washington looks like as we’re standing here. We’ve done our part, we’re ready to build, it’s underway,” she said. “And now we realize that they’ve decided to put their own interpretation of proper culture ahead of our needs, the needs of a nation.”

The Hudson River rail tunnel is a long-delayed project whose path toward construction has been full of political and funding switchbacks. It’s intended to ease the strain on a 110-year-old tunnel connecting New York and New Jersey. Hundreds of Amtrak and commuter trains carry hundreds of thousands of passengers per day through the tunnel, and delays can ripple up and down the East Coast between Boston and Washington

The Second Avenue subway was first envisioned in the 1920s. The subway line along Manhattan’s Second Avenue was an on-again, off-again grail until the first section opened on Jan. 1, 2017. The state-controlled Metropolitan Transportation Authority is working toward starting construction on the line’s second phase of the line, which is to extend into East Harlem.

Boak writes for the Associated Press. AP writers Anthony Izaguirre in Albany, N.Y., and Jennifer Peltz in New York contributed to this report.

Former adult film actor Austin Wolf has received his prison sentence on two counts of child sexual exploitation.

Content warning: This story includes topics that could make some readers feel uncomfortable and/or upset.

On 26 September (Friday), US District Judge Paul A. Engelmayer sentenced the 44-year-old – whose real name is Justin Heath Smith – to 19 years in prison for one count of enticing a minor to engage in sexual activity and one count for engaging in a pattern of activity involving prohibited sexual conduct.

Alongside his prison sentence, the court imposed a $40,000 fine and 10 years of supervised release.

“Justin Heath Smith’s crimes against children are horrible. He targeted kids as young as seven, and every New Yorker wants him and those like him off our streets for as long as possible and never again near our children,” US Attorney for the Southern District of New York Jay Clayton said in a statement.

“The women and men of our Office, and our law enforcement partners, are laser-focused on ridding our streets of those who sexually exploit our children. The message to predators from our Office is clear: there is no place for you in New York other than prison.”

Smith’s sentencing comes over a year after he was first arrested for distributing and possessing child sex abuse videos on Telegram.

According to the official complaint, a detailed investigation into Smith first started in April 2024 after the intelligence and security service seized the phone of another Telegram user named ‘Target Telegram User-1.’

Instagram

While reviewing the individual’s records, they discovered a correspondence with another account named ‘Anon Anon,’ who was believed to be Smith.

During their exchange, which reportedly took place between 24 March and 28 March 2024, the two users allegedly shared “approximately 200 videos” of child pornography “that depicted children as young as infants,” the document read.

After their arrest, ‘Target Telegram User-1’ took part in an interview with authorities, revealing that they had previously met with ‘Anon Anon’ in person, and shared details that matched Smith’s – including “physical description, vocation, and approximate address,” the document continued.

After ‘Target Telegram User-1’ claimed that ‘Anon Anon’ kept child pornography on his home computer, law enforcement executed a search of Smith’s apartment, where they seized his phone and an SD card. 

On 20 June, nearly a year after his arrest, Smith pleaded guilty to enticement of a minor during his plea hearing.

According to the New York Post, the former adult film star admitted to the court to “inducing a 15-year-old to engage in a sex act” in late 2023 or early 2024.

“I don’t remember through text or [social media], but phones were definitely used. I know what I was doing was wrong,” Smith reportedly said in between sobs.

“I apologise. I knew it was wrong when I did it. I don’t blame anyone else for my conduct [although] it was another person engaging in the conduct. I take full 100 percent responsibility for my actions, and I am prepared for the consequences.”

For more information about the case, Smith’s plea agreement and statements made in court, click here.

EMILY Ratajkowski raised the temperature as she posed for steamy lingerie snaps to promote her campaign with Lounge underwear. 

The actress and model, 34, flaunted her famous figure in a selection of lingerie pieces from her collaboration with the underwear brand, and posted some of the saucy pics to her Instagram account.

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Mum-of-one Emily donned a hot-pink bra, panties and garter set in one snap, as she posed suggestively with white sheets on a bed.

In another picture, the Gone Girl actress lay seductively on the floor in an all-black set as she looked directly into the camera.

The famously slender star also showed off her frame and toned stomach as she posed stood up in the all black ensemble, 

The sexy lingerie pieces are part of the model’s collection with Lounge Underwear, dubbed “Emily’s Edit”. 

Speaking about the edit, Emily said: “Sexiness has nothing to do with what someone else sees. It’s about how I feel. 

“I’m a mother, I’m a writer, I’m someone who loves fashion. I play a dozen different roles every day. I love that Lounge recognizes how multifaceted women can be.”

The edit, which features seasonal picks from the star, marks Lounge’s Fall 2025 collection, and also features clothing items including a suede blazer and matching shorts, a cherry lacquer argyle cardigan, and a chocolate sheer shirt paired with a coordinating skirt.

It comes a week after Emily was seen partying away with British pop star Charli XCX, after attending their wedding ceremony in Sicily, Italy. 

The Brat star, 33, married her The 1975 drummer husband George Daniel in a small ceremony in London last month, before flying out to Italy to throw a huge celebration with family and close friends.

Emily was among a flurry of stars who attended the wedding, which included Matty Healy, Gabriette, Amelia Dimoldenberg and Julia Fox.

The model appeared to attend the ceremony alone – without her four-year-old son Sylvester Apollo Bear, who she shares with her ex-husband Sebastian Bear-McClard. 

Emily finalized her divorce with the film producer, who faced a slew of sexual misconduct allegations, in July, after filing for divorce in September 2022. 

The model sparked her latest romance rumours earlier this month, after she was spotted getting close to Caught Stealing actor Austin Butler in New York. 

The pair were spotted together at the Waverly Inn in Manhattan’s West Village, in what could mark her first relationship since her divorce.

She has previously been linked to stars including chart-topper Harry Styles, Oscar winner Brad Pitt, artist Jack Greer and SNL alum Pete Davidson. 

Emily recently revealed she would be making a career turn, as she gears up for a screen-writing debut on A24’s untitled drama series for Apple TV+, which is set to explore female identity and modern motherhood – with Lena Dunham and author Stephanie Danler. 

“Lena was the first person who published my writing, on Lenny Letter, but she knew about me from Instagram,” she told Variety in July. 

“I’ve had a lot of experiences, with Lena specifically, where she has seen past surface level things and given me so many opportunities.”

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Henry Jaglom, the uncompromising indie filmmaker who eschewed big-budget operations in order to preserve his creative vision, died Monday night. He was 87.

Jaglom died at his Santa Monica home surrounded by his family, his daughter Sabrina Jaglom said. The writer-director, whose filmography includes “Last Summer in the Hamptons” and “Eating,” was known for his intimate, naturalistic style and foregrounding of women’s stories in his work.

Sabrina, also a director, said in a statement that her father was “larger-than-life, and made the world a lot more colorful for those of us lucky enough to know him.”

“But, most of all, he was the most loving and supportive Dad. He will be greatly missed, but impossible to forget,” she said Thursday.

From his earliest directing gigs, Jaglom was committed to creating autobiographically inspired and emotionally resonant stories with as little studio intervention as possible. He kept costs low, cast his friends and family in his movies and pursued an improvisational production style that preceded the early-2000s film genre mumblecore.

“My movies talk about the emotional side of life,” Jaglom told The Times in 2009.

“I just try to have people do what we do, which is sit around, talk, deal with the emotions of life,” he said. “It can be touching, sad, happy, but it allows people to go through some of what they go through in life and not feel isolated and lonely.”

Jaglom’s 1985 film, “Always,” in which he co-starred with his ex-wife Patrice Townsend, was inspired by the disintegration of the couple’s own relationship. Jaglom and Townsend divorced two years before the film’s release.

Nearly a decade later, conversations Jaglom had with his second wife, actor Victoria Foyt, about parenthood were distilled into 1994’s “Babyfever,” which the couple wrote, directed and Foyt starred in.

Former Times staff writer Chris Willman called the comedy-drama “remarkable in its comprehensive documentary aspects.”

“Jaglom is, as always, big on verite and improvisation; with such a large cast milling about the airy, oceanside house, he’s managed to cover just about every conceivable baby base, with sentiments ranging from banal self-interest to self-conscious belly laughs, and a lot of very real, undeniably affecting poignancy in-between,” Willman wrote in his review of the film.

“Babyfever” was lauded for sincerely engaging with topics affecting women and for starring a mostly female cast — both of which were trademarks for Jaglom, who went on to form a women’s arm to HHH Rainbow Productions, his production company with producers Howard Zucker and Henry Lange, which for many years was located on the Sunset Strip in West Hollywood.

“Women are the most disenfranchised people in this business,” he told The Times in 1987. “They still have to play mostly by men’s rules. And as I’ve been successfully making million-dollar movies for some time now I thought: ‘Why can’t they do it too?’”

Jaglom was a mentee and close confidant of acclaimed filmmaker and actor Orson Welles, whose farewell performance came in Jaglom’s 1987 comedy “Someone to Love,” which screened at the Cannes Film Festival.

“He plays himself, shedding even the persona he adopted for TV talk shows,” Jaglom told The Times of Welles’ acting style in the film. “People will finally get to see him the way I knew him; it’s almost as if he was sitting there having lunch with you.”

Peter Biskind compiled conversations between the longtime friends for his popular 2013 book, “My Lunches With Orson: Conversations Between Henry Jaglom and Orson Welles.”

Several people approached Jaglom about publishing the tapes before Biskind came knocking, the director told The Times in 2013. But Biskind was the first one he took seriously.

“I said, ‘You want to put yourself through all this?’” Jaglom said. “And he said, ‘Yeah, on the one condition that you don’t censor me.’”

Jaglom, born in London in 1938, was the child of Jewish parents who immigrated to England to escape Nazi persecution. Later, Jaglom’s family moved to New York, where Jaglom spent his formative years and returned after attending the University of Pennsylvania.

In New York, Jaglom trained with Lee Strasberg at the Actors Studio, acting in and directing off-Broadway theater and cabaret before moving to Hollywood in the late 1960s. The multihyphenate went on to make his directorial debut in 1971 with “A Safe Place,” which starred Wells and Jack Nicholson.

After finding commercial success with his third film, “Sitting Ducks” (1980), Jaglom told The Times in 1987 that he was pitched by several big-time studio heads who said, “‘When you’re ready to make a serious movie, a big movie, come and see me.’”

“I said: ‘If you love my films why would you want me to come and make one of your big ones?’” Jaglom said, adding that with a large studio at the helm, directors run the risk of ceding the “final cut.”

“As far as I’m concerned all the big stars and fancy limos and fine dressing rooms aren’t worth a thing if you don’t control your film creatively,” he said.

For years, Henry ate at the same cafe on Santa Monica’s Montana Avenue. He was always delighted when fans and aspiring filmmakers stopped to say hello.

In addition to Sabrina, Jaglom is survived by a son, Simon Jaglom, and ex-wives Townsend and Foyt, Sabrina and Simon’s mother.

DISGRACED rap mogul Sean “Diddy” Combs has received glowing handwritten testimonials from his fellow inmates.

The letters paint him as a positive force inside Brooklyn’s Metropolitan Detention Center, despite the serious convictions hanging over him.

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The 55-year-old, awaiting sentencing next month, has reportedly been running a weekly session called “Free Game with Diddy.”

Inmates say it covers everything from entrepreneurship to health advice, while also giving them a chance to “pick his brain” about fame and money.

Douglas Welch, 42, told Judge Arun Subramanian that Combs “brings love into the Unit” and claimed the class pushed him to go “harder at my health journey.”

He wrote: “Sean Combs brings love into the unit.

“I know because since he’s been here all the Spanish and black inmates cook and pray together, workout together too…

“Since he started his class I’ve been going harder at my health journey.”

Another inmate, Quinton Davis, said the sessions included “business Management, entrepreneurship and life skills,” adding that Combs had even encouraged the group to use “AI and Chat GPT.”

“It’s a key factor and inside scoop on how Mr. Combs started from nothing and became the icon-business mogul he is today,” Davis explained.

“I also learned how to research things better by using AI and Chat GPT.”

A third prisoner insisted the rapper “brings joy and happiness to the atmosphere in the unit” and alleged that “everybody in the unit is treating and acting positively towards each other” since his arrival.

“Because of Mr Combs everybody in the unit is treating and acting positively towards each other,” the letter said.

“Mr Combs cares very much for everyone in here, doesn’t matter what race or age and he is making it his business to do his best to make an impact.”

An official evaluation form dated June 10 backs up those glowing reports.

The “Work Performance Rating – Inmate” document identifies Combs as a tutor in Unit C-B, with a handwritten note praising: “Excellent class. Keep up the great work!!!”

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The case against Combs

Combs has been jailed at MDC since his September 2024 arrest.

He was acquitted in July of headline-grabbing charges including sex trafficking and racketeering conspiracy.

But he was convicted on two counts of violating the Mann Act after prosecutors said he arranged travel for women and escorts across state lines for alleged drug-fuelled “freak-offs.”

Sentencing is scheduled for October 3, 2025.

His lawyers last week filed a 380-page plea asking Judge Subramanian to impose no more than 14 months, which would mean immediate release after time served.

They cited what they described as “inhumane” jail conditions, his childhood trauma, and claimed progress in battling substance abuse.

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Over 100 letters from family and associates were also submitted, attempting to portray him as rehabilitated.

Prosecutors are expected to argue for a far stiffer punishment — reportedly four to five years — and continue to highlight allegations of violence and coercion against ex-girlfriend Casandra “Cassie” Ventura and another woman known as “Jane.”

On top of the looming sentencing, Combs is fighting multiple civil lawsuits and reputational fallout from years of abuse and exploitation claims.

For now, though, the inmates sharing his unit have presented a strikingly different picture to the judge — one of a man they say “changes the vibe” in prison.

SINGER Dua Lipa looks all strung out in a black dress — but manages to hold it all together.

The 30-year-old showed off her fringe benefits in the stunning gown, which she wore to the Harper’s Bazaar Icons dinner in New York City.

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The Levitating singer is in the United States for her Radical Optimism world tour but took a break to party with stars including Benny Blanco and Sadie Sink.

Earlier, she posted pictures on Instagram of herself doing yoga in her hotel room.

We recently revealed how Dua and her fiance Callum Turner are on the look out for a place in the sun – after spending last month soaking up the rays on Ibiza.

The couple, who got engaged last Christmas, have called on a property expert to tap up a series of very posh holiday homes in Andalusia in southern Spain.

A source said: “Dua and Callum are looking for a sunny bolthole to enjoy with their families.

“Their preference has been pretty clear: nice weather and properties that have space.

“They have a man scouting for homes in Portugal and Andalusia, which have amazing weather all-year round.

“The house has to be able to comfortably fit Dua and Callum, as well as their family and friends.

“They also want peace and tranquility, that has been made very clear.

“Dua and Callum have a healthy budget too. They’ve been sent details on properties priced between £3million and £9million and are weighing them up.

HE was the golden boy of Hollywood.

Men envied his obvious friendship with Paul Newman in Butch Cassidy And The Sundance Kid, and almost all his female co-stars adored him.

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In fact, Jane Fonda admitted she couldn’t keep her hands off him on set, while Meryl Streep said he was the “best kisser ever”.

Robert Redford, who yesterday died in his sleep aged 89 at his ranch in Utah, was rejected for 1967 movie The Graduate because no one would ever believe he was a loser with women.

But the handsome star was haunted by nerves and self-doubt that caused him to be endlessly late on set.

As the greatest names in showbiz paid tribute to the blond-haired icon, his representative revealed Redford was “surrounded by those he loved” when he passed away. She added: “He will be missed greatly.”

‘Love of pranks’

In blockbusters such as Barefoot In The Park, The Sting, All The President’s Men, The Great Gatsby, The Horse Whisperer, Indecent Proposal and Up Close And Personal, Redford was box office dynamite.

But the Oscar-winning actor was terrified stardom might turn him into a product for Hollywood studios to sell. He moaned: “Films to them are just like vacuum cleaners or refrigerators. The approach sickens me.”

The megastar even refused to make sequels to his biggest hits, Butch ­Cassidy and The Way We Were with Barbra Streisand.

He hated franchises, but appeared in Captain America: The Winter ­Soldier to please his grandkids.

And he became a champion of independent film-makers, founding the annual Sundance Film Festival to showcase their work.

Born Charles Robert Redford Jr in Santa Monica, California, on August 18, 1936, the actor’s mum was Martha and his dad Charles, a milkman.

His first taste of Hollywood was breaking into a studio as a teenager and trashing the place. He once said: “There was a strong dividing line with a railroad which ran near our house.

“Those who lived on the south side of the tracks, like us, helped to service the big houses on the north side as gardeners, cleaners, whatever.

“My dad would get up to go to work at 2.30 in the morning, come home late afternoon and go to sleep.

“It wasn’t his fault, but it was an inspiration [for me] to do something else with my life.”

Redford’s first plan was to be a baseball star, and he won a sports scholarship to Colorado University.

But he told showbiz writer Garth Pearce: “I was asked to leave because I was drinking too much.”

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His mother Martha had recently died and he turned to alcohol.

After being thrown out of college, he ­travelled to Europe. Redford recalled: “I became a pavement artist in ­Montmartre, Paris, and felt my life had begun at last. I had found my calling.

“Then I moved to Italy, where they openly laughed at my art. Eventually, I was told flatly that I would never make it or sell any paintings.”

So he moved back to New York and tried his hand at acting classes, enrolling at the American Academy of Dramatic Arts.

He said: “Suddenly, I was getting A-grade reports for the first time. I had failed at school, failed at university, failed as an artist. I thought, ‘There could be something in acting for me’. It was as simple as that, with no great calling.”

He couldn’t play a loser because of the way he looked

Director Mike Nichols

He began to get work, first on stage in New York and then in a succession of small-screen shows, such as ­Maverick, Perry Mason and Dr Kildare as TV boomed across America.

His movie breakthrough came opposite Jane Fonda in 1967’s Barefoot In The Park. She remembers: “I couldn’t keep my hands off him. I was ­constantly forcing myself on him.”

Redford auditioned for The ­Graduate, alongside Anne Bancroft as middle-aged Mrs Robinson.

But director Mike Nichols turned him down, recalling: “He couldn’t play a loser because of the way he looked.

“I told him so and he was dispirited. I said, ‘Look at it this way, ‘Have you ever been turned down by a woman?’. He replied, ‘What do you mean?’. I said, ‘My point precisely’.”

But his next part, The Sundance Kid, alongside Paul Newman as Butch Cassidy, would change Redford’s life forever. As they filmed the 1969 hit movie, he and Newman became best mates — bonding over Mexican beers and a love of pranks.

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Redford was a terrible time-keeper and, at the end of filming — during which he did his own stunts — ­Newman presented him with a tapestry cushion that read, “Punctuality is the courtesy of kings”.

For Newman’s 50th birthday, Redford sent him a wrecked Porsche wrapped in a bow. Newman had it crushed and sent back to his pal. Redford then had it turned into a garden sculpture and returned it.

Despite their 40-year friendship, Newman admitted he never really came to know Redford.

Even though Butch Cassidy was a huge success, Redford, a keen environmental campaigner, was still gripped with doubts about his ability.

He admitted: “I actually quit in the late Sixties, after appearing in some big films. It was not reported at the time but I took my family to a remote part of Spain. I attempted once again to make my living as an artist. But I was not good enough.”

By 1973, The Sting, in which he was reunited with Newman, gave him his only Best Actor Oscar nomination.

‘Not good enough’

His blond hair became his ­signature and he refused to have it cut in a 1940s style for 1977 war film A Bridge Too Far.

Director Sir Richard Attenborough asked him personally to get a short back and sides, but was forced to admit: “It’s no use. He just won’t have it touched.”

Redford once asked angrily: “What is it about my hair? I played Jay Gatsby in The Great Gatsby in 1974 and the director Jack Clayton wanted to dye my hair black.

“Even the studio wanted my hair black. I said, ‘Find me the part of the original book where it says that Gatsby’s hair is black. It’s not there’.”

Irritated by filmmakers, he decided to direct a movie of his own.

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Ordinary People, which came out in 1980, became one of the most acclaimed films of the decade and won him the only Oscar in his glittering career, for Best Director.

His hits dominated the Eighties and Nineties, with Out Of Africa alongside Meryl Streep winning seven Oscars, including Best Picture.

He directed A River Runs Through It starring a young Brad Pitt, Quiz Show and The Horse Whisperer, in which he also played the lead.

It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals

Robert Redford

In between, he starred in Indecent Proposal as a millionaire who offered a married couple $1million if wife Demi Moore slept with him.

There was also romance in Up Close & Personal with Michelle Pfeiffer. But alongside great career success he suffered family tragedy.

His son Scott, who he had with first wife Lola, was a victim of cot death in 1959 at just two months.

The actor said: “It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals.”

His second son, Jamie, who ­suffered constant ill health and underwent two liver transplants, died from cancer aged 58 in 2020.

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And eldest daughter Shauna ­witnessed the murder of her long-term boyfriend at university.

Redford told Garth Pearce: “All that personal stuff with my children meant some tough times. When you’re going through it, you lose part of yourself. I confess that I used work to prop me up.”

The Hollywood legend produced and directed films right into his 80s.

His final performance was an uncredited cameo earlier this year as a chess player in Dark Winds, a TV show he executive-produced. Redford officially retired from ­acting in 2018.

Redford is survived by second wife Sibylle, some 21 years his ­junior, who he married in 2009, and daughters Shauna, 64, and Amy, 54, from first wife Lola, who he divorced in 1985.

He said of his success: “The key to sanity in Hollywood is to have a life separate from movies and to never repeat yourself on film by doing a sequel.

“I lost my way and my focus ­several times. Having to deal with life, death, illness and catastrophe puts anyone to the test. Movies and acting was never my first love, but it was an enduring one.”

HARRY Styles takes the next step in his romance with Zoe Kravitz. 

The Sun revealed last month the pop star, 31, and actress, 36, were dating and now insiders say they are inseparable. 

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As they left Newark airport in New Jersey this week, Harry wore jeans and Zoe was in all black.

Friends said they were invited to singer Charli XCX’s second wedding in Sicily today. 

The popstar first sparked romance rumours with Zoe last month when they were seen together in Rome.

The One Direction hitmaker, who was then spotted looking loved up with his partner in NYC last week, has now suggested they’re getting very serious very quickly.

Harry was seen enjoying a lunch date with Zoe where he met her music star father Lenny in New York‘s West Village.

They put on a united front, holding hands as they entered the Sant Ambroeus venue before Lenny, 61, arrived solo.

The Ain’t Over Til It’s Over hitmaker donned a red sleeveless top and skintight jeans, with a black back thrown across his body.

He pulled on a pair of sunglasses as he strode through the streets to the venue, ready to meet his daughter’s new love.

Meanwhile Caught Stealing star Zoe cut a chic figure in a black vest and matching silk skirt.

She left her hair in a natural style flowing over her shoulders while also opting for a pair of shades.

The Batman movie alum walked hand in hand with Night Changes vocalist Harry, who kept a serious expression ahead of the family get-together.

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SANTA YNEZ — Shaun Cassidy steers his Dodge Ram 250 into the parking lot of the Maverick Saloon and throws open the truck’s passenger door, refrigerated air whooshing out of the cab, where he sits behind the wheel wearing sunglasses, black jeans and a black T-shirt.

The onetime teen idol who topped Billboard’s Hot 100 in 1977 with his chirpy cover of the Crystals’ “Da Doo Ron Ron” — this was seven years after Cassidy’s mother, Shirley Jones, and his half brother, David Cassidy, hit No. 1 as the Partridge Family with “I Think I Love You” — has made a lunch reservation at a vineyard not far from where he lives in Santa Barbara County so the two of us can talk about his upcoming concert tour.

“But the place is as big as Knott’s Berry Farm, and I didn’t want to spend 20 minutes looking for you,” he says, with a laugh. “That’s why I thought better to pick you up here.”

The drive also allows Cassidy, 66, to show off a bit of the picturesque region he’s called home since 2011, when he moved from Hidden Hills with his wife, Tracey, and their four children. (He has three more children from two previous marriages.) “It’s not as remote as it was before the pandemic,” says Cassidy, who’s spent the last few decades working behind the scenes in television. Through the truck’s windows, a panini shop and a microblading clinic roll by. “COVID happened, and suddenly it became part of Los Angeles — a lot of new people,” he says.

“But I grew up in L.A. and New York” — Cassidy’s dad was the actor Jack Cassidy — “and I always envied people that came from somewhere else. My folks told us, ‘Don’t worry, we’re gonna buy a farm in Pennsylvania or move upstate,’ and it never happened.” Here in the Santa Ynez Valley, Cassidy adds, “I’ve managed to manifest the family life that my father always told me was important but somehow couldn’t find for himself.”

Now he’s leaving home for his most extensive run of shows in more than 40 years.

Cassidy’s tour, which kicks off Saturday at Nashville’s Grand Ole Opry and has dates scheduled through March, will revisit the lightweight pop pleasures of the musical career he maintained alongside his role as Joe Hardy on TV’s “The Hardy Boys Mysteries.” As the younger brother of an established heartthrob, Cassidy came in hot: His self-titled debut for Warner Bros. Records went platinum within months and spun off three Top 10 singles in “That’s Rock ’n’ Roll,” “Da Doo Ron Ron” and “Hey Deanie”; Cassidy was even nominated for best new artist at the Grammy Awards in 1978, where he turned up onstage in a white pantsuit at age 19 for a bum-waggling rendition of “That’s Rock ’n’ Roll.”

“This young man,” proclaimed the show’s host, John Denver, “is definitely going places.”

Shaun Cassidy at the 20th Grammy Awards in Los Angeles in 1978.

(UPI / Bettmann Archive / Getty Images)

Four more LPs came in quick succession, ending with the willfully eccentric “Wasp,” for which Cassidy recruited Todd Rundgren as his producer. Then, following a 1980 gig at Houston’s Astrodome, Cassidy abruptly quit music to focus on writing and acting, which he describes as his real passion.

“I didn’t love being famous,” he says, as we pull onto a dirt road approaching Vega Vineyard & Farm. “But I think I needed to be famous. I came from a family where everyone was well known, and I didn’t want to go through life being someone’s kid or someone’s brother. So I had to sort of step out into the spotlight and announce myself, and once that was done, I could figure out what I want to do.”

Why return to the stage now? For one thing, Cassidy says he’s singing better at the moment than he ever has — a claim supported by his old friend Bernie Taupin.

“Shaun’s voice has matured in the best way possible,” says the lyricist known for his half-century-long collaboration with Elton John. “But the other thing is that he’s a born raconteur.”

Indeed, Cassidy’s road show, which he’s been workshopping sporadically since 2019, is a songs-and-stories affair in which he looks back on an eventful life he has yet to recount in a book. “You have to be fearless and brutally honest when you write a memoir,” he says, pointing to Patti Smith’s “Just Kids” (2010) as one worth aspiring to. “David wrote a s— book, and my mother wrote a s— book, so I feel a bit of responsibility to represent my family accurately and honestly.”

We’re seated now at a picnic table in the shade, where a server has brought over several bottles from Cassidy’s line of wines — the line is called My First Crush, which is perfect — and a couple of Greek salads. “I don’t think there’s anything I’d be scared to write,” Cassidy says. “My bigger fear would be hurting people.”

Who have you used as a comparison point to explain your ’70s stardom to your youngest child?
She has the poster on her wall: Harry Styles. And I didn’t say it to her; her mother did: “You know, your father was that guy.” My daughter’s like, “That old in guy there? Not possible.” But there was a chain you could tie me into. My record had been No. 1 a week or two before Elvis died, so when that happened, lots of reporters called me: “How do you feel about Elvis passing? How do you feel about walking in the King’s shoes?” I was like, “If he’s dead at 42, I don’t want to be in those shoes.”

Did you actually say that to a reporter?
I was too polite. But there’s a lot of truth in it. Ricky Nelson had just been a guest on “The Hardy Boys,” and I remember thinking that I didn’t want to be guest starring on a TV show in 20 years. Look, my brother David didn’t handle fame well. I had a model for what not to do, and I had a model for what to do: my mother, who’s 91 and lives five minutes away and is as gracious and lovely and happy a human being as you’ll ever meet.

I like to say I’m in show business, but I’m not of it. I love the work and the creativity — I’m not a red carpet guy. She never was either. She was like, “They tell me where to go, I show up, I do it.” And people love her.

There’s a great photo of you in the L.A. Times in 1978 standing in your backyard next to a swimming pool.
I got “The Hardy Boys” when I was 18 — still living at home with my mom in Beverly Hills. My parents are separated — my father died while I was shooting the pilot, which was pretty traumatic — and I’m like, I gotta get out of here. The family’s business manager calls a bank and says, “He’s top of show on a new series making $2,500 a week.” They got me a loan to buy a house without a down payment. So I went and bought a house on the weekend while my mother was out of town.

Was she pissed?
No, she wasn’t. She was happy for me — sort of. Yeah, maybe. I don’t know.

You went through the whole emotional spectrum in that answer.
It was weird. I only lived there for like a year because now I’m making a lot of money, so the business manager says, “You need to buy real estate and you need to spend more money,” which is dumb, as it turns out. Keep that little house you bought with your first check and put the rest of it in the stock market, and you won’t need to worry about anything forever.

So somebody finds me a place on Mulholland. Warren Beatty is over here, Brando and Nicholson are over here — Valley view, Beverly Hills view, on a promontory with a pool. This is the house in the picture. When I first go up to see it, there’s a recording truck in the driveway and all this recording equipment inside. Fleetwood Mac are there doing something. I’d met Lindsey Buckingham and Stevie Nicks.

Shirley Jones and Shaun Cassidy at the 73rd Tony Awards in New York in 2019.

(Bruce Glikas / WireImage)

What, as proud Warner Bros. recording artists?
Just at parties in L.A. before they joined Fleetwood Mac. I was out all the time. My parents sent me to boarding school in Pennsylvania in ’73 — I ditched the entire time on a train into New York to go to CBGB’s and Max’s Kansas City. Danny Fields took me to CBGB’s to see the Ramones when he was managing them. And why did I know Danny Fields when I was 15? Because he was writing for 16 Magazine where [editor in chief] Gloria Stavers was putting pictures of me in there with no record deal: “It’s another Cassidy — isn’t he cute?”

Danny was interesting. He’d managed Iggy Pop, and I knew Iggy — Jim — from hanging out on Sunset because this was the time Jim was living in Hollywood kind of between jobs. Smart guy — big influence on me. Early on, I played Rodney Bingenheimer’s club. I’m there shirtless with a bow tie, screaming, looking kind of like Iggy at 14 or 15.

It’s wild that your most chaotic years happened before you were even 18.
They cleaned me up. I was on “The Hardy Boys” playing a character who really couldn’t look like a punk. My earring had to go.

You ever feel hemmed in by the job?
No, because I was playing a character, and my identity wasn’t tied to the success of the show. Miguel Ferrer was one of my closest friends, and his dad, Joe — José Ferrer, real actor’s actor — I remember he said to me, “So, my boy, you’re thinking of going into the business? Let me give you a piece of advice: I have known success and failure, and they are both impostors.” He took it from Rudyard Kipling, I think. But it stuck with me. Anything I did, even “Wasp” — I don’t view that remotely as a failure. I view it actually as a bold awakening.

One of the great pop-idol freak-outs, 1980’s “Wasp” found Cassidy alternately crooning, yowling and barking his way through new-wave-y covers of tunes by the likes of David Bowie, the Who and Talking Heads while backed by members of Rundgren’s group Utopia.

“All I wanted to do was work with Todd,” says Cassidy, who’d been unhappy making “Room Service” in 1979 “because there was so much pressure from the record company to dive into disco, which I was never a fan of and which felt completely inauthentic for me.” By that time, Rundgren had produced hip records for the New York Dolls and the Patti Smith Group in addition to scoring hits of his own like “I Saw the Light” and “Hello It’s Me.” “He said to me, ‘You’re an actor — let’s do some acting.’ So we created some characters and experimented with different things.”

The album bombed. “My audience wasn’t ready for it, and there was no new audience showing up on FM radio that was gonna embrace me,” says Cassidy. “I think eight people bought it.”

Having been told by a Warner Bros. executive that he should go away — “And he was 100% right” — Cassidy “stayed home for the ’80s,” he says. “My big spending spree would be Friday night. I’d take my rock-star money to Crown Books and bring home $250 worth of books in my Porsche.”

In 1993, he let his brother lure him into co-starring in the musical “Blood Brothers” on Broadway.

“I turned him down three times,” says Cassidy, as we open a second bottle of wine. “I already had a deal at Universal as a writer with an office and an assistant, and I’d sold a couple movies for television. I was on my way, and David’s pitching me: ‘No, no, no — we can be the kings of Broadway!’” He takes a sip. “As it turned out, it was great — really emotionally satisfying. And the show was a big hit.” (David died from liver failure in 2017.)

Yet “Blood Brothers” was enough limelight for Shaun, who quickly turned back to TV. “American Gothic,” the first show he created, premiered in 1995 — an achievement that, he says, “meant a lot more than having ‘Da Doo Ron Ron’ as a No. 1 record.” Since then he’s been an executive producer on “Cover Me,” “Cold Case,” “The Agency” and “New Amsterdam,” among other series.

“He reinvented a whole new Shaun Cassidy career,” says Steve Lukather, the Toto guitarist who’s been friends with Cassidy since he appeared in an episode of “The Hardy Boys.” Cassidy’s wife, who’s also worked in TV, didn’t even know he’d been a musician when they met on one of his shows.

“I said, ‘Where you from?’ and Tracey said, ‘Miami,’” the singer recalls. “I said, ‘Oh, I played Miami.’ She goes, ‘What position?’ ”

Still, Lukather reckons that more recently his pal “started missing being onstage a little bit. He knows where it’s at.” Cassidy, who plans to play bass in the show, called Lukather not long ago for some guidance on the instrument. “I told him to play simple — don’t overthink it. It’s not like he’s going out and doing the Mahavishnu set.”

It’s half past 3, and Cassidy has a virtual pitch meeting for a new show at 4 p.m. But first he has to pick up his youngest daughter from school, so we hop back in his truck and head there from the vineyard.

On the ride he says he’s been working on a couple of new songs — the first of his own that he’s recorded since the handful he placed on his albums back in the day alongside stuff by pros like Eric Carmen, Brian Wilson and Carole Bayer Sager. One of them sounds like it could’ve been cut by Mel Tormé, he says. “The other one, it’s very anthemic — I don’t know, maybe like the Killers.”

“It’s been fun to see him to go the piano instead of the computer as an outlet for his passion for storytelling,” Tracey tells me later, though of course Cassidy knows that fans will show up to his gigs wanting to hear the classics.

Who did you long to be at the height of your teen idolhood?
First concert I saw was the Rolling Stones at the Forum in 1972, with Stevie Wonder opening. I took pictures and put those pictures on my wall. Mick and Keith in ’72 — that was a show. I saw David Bowie on “Diamond Dogs” in ’74. And I saw Iggy a lot. Somewhere in between those three is where I wanted to be. Obviously, I was safer than that.

What do you see when you watch the kid singing “That’s Rock ’n’ Roll” at the Grammys?
He’s confident, but he’s not cocky. I remember afterwards Lou Rawls said to me, “Son, never turn your back on the audience.” I said, “They seemed to like it when I shook my ass.”

You lost best new artist that night.
So did Foreigner. Lou Gramm somewhere is still upset.

I wondered if you remembered who else was in the category.
Debby, of course.

Debby Boone, who won — another nepo baby.
Hey, if your dad owns a hardware store and you take over the hardware store, I have no issue with that at all. I don’t know who else. Andy Gibb?

Stephen Bishop and Andy Gibb.
I knew Andy a little bit.

Kind of a similar deal to you, right? Younger brother of a pop sensation.
He had a different challenge, though. This is me being shrink, but I don’t think that anybody got to really know who he was, because Barry [Gibb] was so strong. And I don’t think Andy had a problem with that. I’m sure growing up, he was like, “I want to be a Bee Gee too,” and Barry said, “OK, here’s how we do that.”

David Cassidy, left, with Shaun Cassidy, circa 1975.

(Michael Ochs Archives / Getty Images)

What was your relationship like with David in terms of the advice you took or rejected?
David never gave me advice. I think it was very difficult for him because he was at a career low point. I would ask him, “What do you think of this?” and I could tell he was conflicted about it. It wasn’t that he didn’t want me to have success. But he was in a place where it was hard for him to enjoy my success, I think. And I knew that, so I didn’t talk to him about it.

What’d you think when he posed nude on the cover of Rolling Stone?
I thought it was dumb. That was his “Wasp” moment — I thought, You’re putting a bullet in something here, whether you know it or not. Now, I’m not so sure. It’s a cool picture. All I know is he complained a lot in the press. He had a chip on his shoulder because he wasn’t Eric Clapton or Jimi Hendrix or somebody that he revered. It’s like, “OK, play as well as Hendrix and maybe you’ll be Hendrix. But you’re a really charming guy on a big hit television show, and 8 billion people are in love with you. Tell me why this is a bad deal.”

Why did you understand that and he didn’t?
Because I’m Shirley’s son and he’s not. And I got to watch him — I saw how you can handle it differently.

You never burned to be taken seriously?
I took myself seriously. I’m very secure, and that’s rare in show business. I never needed the love of the audience to feel like I was whole.

You got that love elsewhere, and David didn’t.
He would say that.

Was he not right?
Maybe. I mean, to my mother I could do no wrong — to the point that she had no credibility. But if you’re going to err on one side, that’s a better side than, “Where are my parents?” Both of his parents were actors — they were gone a lot. Then his father left his mother to marry a movie star and have me. David would have every reason in the world to hate me as a little boy, but he didn’t.

My brother was a really sweet — I’m gonna get choked up talking about him — he was a really sweet soul who got hurt and couldn’t overcome that. I’m not a psychiatrist, but I spent a lot of time with him. Again, “Blood Brothers” was great because it was an equalizer. I wasn’t the flavor of the moment, and neither was he. That’s one of the things I miss most about him — that he was the only person in the world I could talk to about our experience.

New York City is famous for its thousands of bodegas across the city, and while they may not look like much from the outside, these small stores are hidden gems of the city.

When you arrive in New York City, sights such as the Statue of Liberty and the Empire State Building might be first on your bucket list.

But for me, drinking in the real city meant a trip to some of the city’s corner bodegas – a New York term for local convenience stores combined with delis that have become an integral part of the NY city furniture.

A small corner shop selling essentials might not sound overly interesting, but in many of New York’s neighbourhoods, the local bodega is a hub for the community. Bodegas are also silver screen stars. They have provided countless backdrops for New York-shot TV shows and films, including modern comedy classics Broad City and Master of None.

There is, I’d suggest, no better way to get under the skin of a new destination than by visiting its supermarkets and finding out how much space a given community devotes to crisps; if a nation is yet to discover the meal deal; and whether everything just smells a bit odd.

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For the duration of my NYC trip, I stayed in Moxy Lower East Side, which is in the heart of Downtown. Luckily, Don Juan Grocery and Deli, one of the city’s better-known bodegas, was just a four-minute walk away.

I can say for certain that neither of them was like my local Tesco Express back home. When I stepped into the tiny store for a much-needed bottle of water away from the city’s summer heat, the Latin music was booming just like we had arrived at a cocktail bar.

A rustic lottery ticket station greeted me, with chocolate snacks locked up above the cashier rather than out on the shelves. Sat across two other wooden shelves was everything you would possibly need, not for a light lunch or Central Park picnic, but if a full-blown disaster struck. Even on the packed streets of New York, a spot of prepping is possible.

I jumped for my life when a man popped out of a metal hatch from the ground. Happily, he meant no danger, but instead had just clambered down into the shop’s store room.

One thing that has put NYC bodegas on the map is their deli sections.

From pastrami to roast beef, Don Juan store had fresh meats, cheeses and fish on the menu in the corner of the store – where a small kitchen set up neighbours the till counter. Don Juan has created a name for itself in the area for their tasty sandwiches, burgers, and breakfasts, with its bacon, egg, and cheese breakfast sandwich garnering fame.

Their food is so popular that many skip out on heading to cafes and restaurants in favour of grabbing a traditional sandwich from the deli. The store has even teamed up with food brands across the city to host pop-up food events during the summer, a side gig to the general running of Don Juan.

With around 13,000 bodegas across the city, what started as a local place for essential buys and quick eats are rising in popularity. Sky Deli, formerly Haji’s Deli, in Harlem, has achieved nationwide acclaim as the origin of the chopped cheese sandwich. Famed as one of the city’s best bites, the sandwich includes chopped ground beef, onions, American cheese, and lettuce on a long hero roll.

Queens spot Datz Deli is another of the city’s best-known bodegas. The store is known for its quirky menu, which includes pancakes with hot sauce. Having garnered 120,000 followers on Instagram, Datz is also home to the “macpatty,” which blends macaroni cheese with beef and oxtail in a burger. This dish has been featured on The Kelly Clarkson Show.

Sunny and Annie’s Deli in the East Village isn’t famous for its extravagant menu items but for its community feel. Open 24 hours a day, the store has become a staple in the neighbourhood for locals to catch up, grab some food, or just stock up on the essentials.

As TikTok rises, many influencers and food bloggers are testing out food in bodegas across the city for content, meaning what used to be a community spot for locals is now turning into foodie spots for tourists.

My advice is not to overlook a breakfast or lunchtime fix from a local bodega; while it may not look glamorous, it could be your new favourite spot.

Thursday marks the 24th anniversary of the Sept. 11, 2001 terrorist attacks that saw two planes flown into the Twin Towers in New York, killing nearly 3,000.

Kevin Danni was there. The St. Francis High graduate and father of Golden Knights linebacker Luke Danni reflects back every anniversary on how he escaped from the 61st floor of the South Tower.

“I’m so lucky there were so many who sacrificed to save me,” he said.

Danni told his story to a rapt audience earlier this week at a meeting of the YMCA of the Foothills QB Club, where he is president.

He was 22 years old, a recent graduate of Occidental College and had been sent to Morgan Stanley in New York to begin training at the Twin Towers on Sept. 10, 2001. The next morning, a training meeting ended up being 15 minutes late because a speaker went too long, so during a break, he decided not to go to the observation deck on the 107th floor.

Instead, he looked out a window and saw what he thought was confetti flying around, It was papers from the aftermath of a plane running into the North Tower. Soon he saw a fire. At first, evacuation from the South Tower was not recommended. But Danni said the head of security, Rick Rescorla, overrode orders and told everyone to leave.

When Danni reached the 55th floor walking down the stairs, he heard an explosion. “The walls cracked,” he said.

It was a plane hitting the South Tower.

“I knew it was a terrorist attack,” he said. “I started to descend and passed firefighters going up the stairs. It took 45 minutes to evacuate.”

When he went outside, he said, “I saw both on fire.”

He went to find a pay phone so he could call his loved ones and tell them he was OK. Then the towers started to collapse.

“I heard a rumble,” he said. “It was 57 minutes since the plane hit. I saw the dust cloud. I turned and ran.”

Danni said he learned the security man, Rescorla, after escorting employees outside, went back up to make sure all had been evacuated from the office. The security man and 343 firefighters perished trying to help others.

“I got to see so many acts of heroism,” Danni said.

He was dating his future wife, Helena, at the time. They eventually married and their son, Luke, was born. This week he’ll be having fun watching Luke play quarterback for St. Francis on Friday night against Muir.

“Every 9/11, he says, ‘Dad, I’m glad you’re here,’” Kevin said.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

LADY GAGA dominated the MTV VMAs – winning four gongs out of 12 nominations and performing her new single The Dead Dance on stage for the first time.

She is now the third most awarded artist in the ceremony’s history with 22 gongs — one more than Madonna.

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Gaga is now just behind Beyonce and Taylor Swift who are tied on 30 awards each.

Despite putting on the best performance of the night, Bizarre can reveal the superstar wasn’t actually inside the UBS Arena in Elmont, New York, when she appeared on stage.

In fact Gaga secretly recorded her performance across town at Madison Square Garden, where she was performing on her Mayhem Ball tour, and shot it four times to make sure they had the perfect take.

Gaga pushed back her performance there by 90 minutes in order to walk the red carpet at the VMAs before racing back across town to get on stage.

A source said: “Gaga was adamant she wanted to be involved in the VMAs but obviously cancelling her show at MSG was never an option.

She and her team worked with MTV for weeks in order to get in two places at once.

“As soon as she won Artist of the Year she raced backstage for pictures and then drove to MSG. It was full on but if anyone could pull it off it’s Gaga.

“During her show she performed with some of her Moonmen — she’s so proud to be still winging awards.

“It was a really special moment, especially as her mum and dad were in the crowd.”

As she picked up the Artist of the Year gong, Gaga gave a shout-out to her fiance Michael Polansky and said: “To my partner in all things, Michael.

“Creating this year with you was a beautiful, beautiful dream, and you have been my partner every step of the way.

“I dedicate this to you too, my love. I wish I could stay and watch all these amazing performances, but I have to go back to Madison Square Garden.”

Feeling reflective the superstar went on to admit she wants to be performing until 2045 and feels like New York has shaped her into the artist she is today.

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Gaga said: “I hope in 20 years when I have written lots more albums that I will still be back here. I can’t tell you how fortunate I feel that this is where I grew up because it made me so much of who I am.

“I think about what [my music] would have sounded like if I hadn’t grown up here.

“I feel like when you are from New York it kind of grows roots in your veins. You have this understanding of life and community, it’s very strong. It’s a feeling. I can’t quite describe it as it’s a feeling.”

Now Gaga is on a roll, the wheels are in motion for her to come to the UK for four headline shows at London’s O2 Arena.

The gigs, along with two more in Manchester’s Co-op Live arena, sold out in seconds.

And if her performance in New York was anything to go by, us British fans are in for a treat.

IT’S RAINING MEN FOR SABRINA

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SABRINA CARPENTER wowed fans with a seriously sexy and rain-soaked  rendition of her new single Tears.

And there was something for everyone, as she was surrounded by a troupe of very attractive male dancers dressed as policemen as well as drag queens.

During the evening, Sabrina won three MTV VMAs and used her performance to call for the advancement of trans rights.

Speaking on stage, the Manchild singer said: “This world, as we all know, can be so full of criticism and discrimination and negativity.

“So to get to be part of something that can make you smile, make you dance, and make you feel like the world is your f***ing oyster, I’m so grateful to do that.”

NIGHT’S YUNG FOR AEROSMITH

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HOMEGROWN star Yungblud led a special tribute to the late Ozzy Osbourne after his death in July.

The punk rocker was joined by Aerosmith legends Steven Tyler and Joe Perry for a medley of the Black Sabbath singer’s hit singles Crazy Train, Changes and Mama, I’m Coming Home.

Speaking on the carpet, Yungblud  revealed he was wearing Ozzy’s cross necklace (which Ozzy had given him, inset above) as a mark of respect.

He added: “It’s a big moment to honour someone you love.

“I’m wearing his cross tonight. I love him and always have. I hope he’s up there with a drink watching tonight.”

Teasing his future plans, Yungblud, whose real name is Dominic Harrison, added: “There is a new project coming in two weeks… I’ve not said that yet.”

As the cameras cut away from the singer, to Steven Tyler’s impressive guitar solo, Bizarre watched as Yungblud turned his back on the audience and sipped an alcoholic drink, looking up to the emotional montage of the late rock legend.

Over the past few years Yungblud had grown close to Ozzy and his family. He was one of the star acts at Black Sabbath’s homecoming gig in Birmingham earlier this summer.

Yungblud revealed to Bizarre that he learned of Ozzy’s passing via a text from the heavy metal legend’s son Jack Osbourne. The singer said: “You get to know someone personally, who you love and then they leave.

“I was texting him, then his son Jack texted me and said, ‘He’s gone’.

“Being around the family and being at the funeral, the amount of love there. That family are real as f***.

“The dream is to have kids and a family like that. There’s no gimmicks. It’s authentic.”

TATE’S IN TRAINING TO WED

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TATE McRAE appeared to be using the VMAs as a dry run for her own wedding.

The singer wore a sheer white dress with a statement train that was so long she needed two members of staff to carry it like bridesmaids.

Tate is thought to be single at the moment, but after watching her red-hot performance of Revolving Door and Sports Car in this two-piece we imagine she won’t be short of offers.

ARI: MIC’S TUTU TALL

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ARIANA GRANDE may be small but she took home some of the biggest gongs of the night.

She picked up the award for Best Pop and Video of the Year for her Brighter Days Ahead.

Despite not being a performer, Ari was given her own dressing room backstage to cater for her three wardrobe changes.

The superstar arrived in a fitted polka dot number and ended things in a white ballerina tutu.

During her time on stage, Ari seemed overcome with emotion at her wins, before joking that the height of the mic got taller each time she took to the stage.

MARIAH’S MEDLEY

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MARIAH CAREY returned to the VMAs stage for the first time in two decades to pick up the Video Vanguard Award and to perform a medley of her hits.

And, naturally, the notorious diva made sure the luxuries were laid on before she even stepped foot in the Big Apple.

Insiders said Mariah flew in via private jet, which had been decked out with white roses and cashmere blankets.

After laying low for a couple days at her sprawling £16million penthouse in Tribeca, Mariah and her glam squad then spent most of Sunday getting her red carpet-ready.

MTV bosses were on alert for the infamous diva to be hard work, but I’m told everything went smoothly . . . even if she did keep a wide berth from almost every other star.

Mimi opted to swerve both the red carpet and on stage VIP seats, instead zipping in and out via the backdoor.

She was handed her gong by Ariana Grande. Mariah told Ari: “I love you. I’m so grateful for you and I’m beyond proud of everything you’ve achieved, girl.”

It marked the first time the We Belong Together singer has ever won a coveted Moonman.

RICKY WINS LATIN ICON

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RICKY MARTIN proved he’s still got it with a hip-thrusting medley of his biggest hits.

The Latin pop king belted out Livin’ La Vida Loca, Shake Your Bon Bon, Maria, The Cup Of Life along with two Spanish tracks.

Ricky, who also picked up the first ever Latin Icon award, was hoisted high above the crowd to kick off his medley before an outfit change mid performance.

A beaming Ricky told fans: “I’m addicted to your applause that’s why I keep coming back.”

Later this year he will tour Australia with support from Rita Ora. It’s been a long time since he played the UK so hopefully dates over here are not far off.