Witch

Reporting from Washington — President Trump could contain his anger for only so long — about 14 hours — before lashing out on Twitter on Thursday to protest “the single greatest witch hunt of a politician in American history!”

But in attacking Wednesday’s appointment of former FBI Director Robert S. Mueller III as a special counsel to head the investigation into Russian meddling in the 2016 election and any role that Trump’s associates may have played, the president risks alienating potential supporters in his own party.

He could create an enemy out of a prosecutor who commands both a vast army of investigators and bipartisan respect.

And, yet again, he has undercut advice from top Republicans inside and outside the White House who say that an independent investigation could help Trump. If only he could control his evident anxiety about the case, the secrecy of a special counsel investigation could keep the story out of the daily headlines, they say. And Mueller’s credibility could provide exoneration for the president and his aides if the investigation finds that they have done nothing wrong.

The mix of grievance, hyperbole and defiance in Trump’s response, however, was hardly surprising at this point in his public life. His statements fit a pattern he long ago established of fighting back against enemies real or perceived and of seldom letting go of a grudge.

In a second tweet, Trump complained that President Obama and Hillary Clinton had not been subjected to the same treatment.

“With all of the illegal acts that took place in the Clinton campaign & Obama Administration, there was never a special counsel appointed!” he wrote. He initially misspelled counsel as “councel” before sending a corrected tweet.

Trump did not specify what he meant by illegal acts.

During a lunch with television anchors ahead of a nine-day foreign trip that is scheduled to begin Friday, Trump continued to criticize the special counsel appointment.

He called the investigation “a pure excuse for the Democrats” for losing the election. “It hurts our country terribly,” he said. “It shows we’re a divided, mixed-up, not unified country.”

At a joint news conference later in the day with the visiting president of Colombia, Trump took a slightly more muted tone.

“I respect the decision” to appoint Mueller, he said, before adding that he believed the “entire thing” was “a witch hunt.”

“There’s no collusion between, certainly, myself and my campaign — but I can always speak for myself — and the Russians — zero,” he said. He appeared to mean that he could “only” speak for himself.

“There is no collusion,” he repeated several times.

He also emphatically said, “No, no,” when asked whether he had urged then-FBI Director James B. Comey to back off an investigation of Michael Flynn, Trump’s former national security advisor. Comey, in a memo reportedly written for his files, said that Trump had made such a request at a meeting in the Oval Office on Feb. 14.

Trump’s lashing out is not unique. President Clinton, for example, was known to rage about what he saw as the unfairness of the long-running special prosecutor investigations his administration faced. Clinton, however, kept his red-faced fury to private conversations, and, of course, Twitter didn’t exist.

But neither is Trump’s very public display of anger a completely irrational move. Trump and some of his advisors clearly see anger over the investigation as a way to unite his core supporters against a common enemy at a time when at least some of his voters have begun showing signs, in polls, of wavering.

In fundraising emails Thursday, Trump boasted that he had set a new postelection high for his campaign in online money raising despite “unrelenting and unprecedented political attacks against a sitting president” by the media and political establishment.

“The American people sent President Trump to Washington not to get along with the establishment but to repair the damage done to our economy and our prestige around the world by their policies and practices,” he wrote.

Trump’s instinct to battle, however, and the political desire to use the fight to unite his supporters is at odds with the strategy that many of his advisors would prefer — one closer to the approach other administrations have used of trying to insulate the White House’s daily functions from scandal.

Clinton’s press office hired an outside agency to handle questions about the investigation that eventually led to his impeachment over the Monica Lewinsky affair. Although it did not end the saga for him, it did take some of the pressure off his White House staff, allowing them to speak more about policy during public briefings.

Wednesday night, the White House seemed to be inching toward a similar goal, issuing a statement that offered muted approval of the investigation and urged a speedy conclusion.

Congressional Republican leaders appeared to be following that playbook Thursday.

After Deputy Atty. Gen. Rod Rosenstein briefed senators on the investigation, several Republican lawmakers suggested that with Mueller in place, the time had come for congressional committees to scale back their investigations, which involve highly public hearings, and allow the special counsel to carry out his probe, which can be expected to offer fewer headlines until it reaches a conclusion.

The appointment of Mueller “has really limited what Congress can do,” said Sen. Lindsey Graham (R-S.C.). “This was a counter-intelligence investigation. It is now a criminal investigation.”

Trump’s advisors have been frustrated that he has so often failed to stick to such strategies.

“Clearly they’re not on the same page, but I don’t know why,” said Barry Bennett, a former advisor to Trump’s campaign who has friends serving in the White House.

Bennett said Trump continues to rely mostly on advice from “his New York buddies” — friends closer to his age and wealth whom he respects more, but who lack experience in politics and communications. Like others, Bennett expects Trump to shake up his staff, dispensing with Chief of Staff Reince Priebus, upon his return from the foreign trip.

Anxiety over a potential staff shakeup, Bennett said, has left those inside with even less clout to advise the president.

“It’s a combination of his frustration and people’s exhaustion,” he said.

But another person in close contact with White House staff, who requested anonymity to discuss the issue, said many of Trump’s aides remain devoted and united behind the task of defending him. The stress staffers are feeling is endemic to any White House, the person said.

“Anybody that’s surprised by” Trump’s disdain for listening to his press team and political advisors “should have been paying attention to the campaign,” the person said. “To think it would be any different in the White House makes you dumb.”

With the rush of events at home, Trump’s overseas trip now promises to be even more fraught for the new president.

Trump would like the trip to be shorter, a White House official said. His son-in-law and close advisor, Jared Kushner, orchestrated the stops in Saudi Arabia and Israel, which lengthened a trip that originally was designed to go only to Italy and NATO headquarters in Brussels.

Trump liked the broader mission, but being away from a familiar bed for more than a week is difficult for him. He is often teased by his children as being a “homebody,” the official said.

One person who will be staying behind is Trump’s strategic advisor Stephen K. Bannon. He has stepped back from foreign policy in the last two months as Kushner showed he had more influence with the president in that arena.

The last several days offered a preview of how the current distractions, combined with Trump’s disdain for scripted protocols, could leave the president ill-prepared for his debut abroad.

On Tuesday, Trump repeatedly mispronounced the name of Recep Tayyip Erdogan as the Turkish president stood beside him. He also appeared bored or distracted when Erdogan spoke, coming to life when the Turkish president injected some fulsome praise for Trump and his election victory.

On Thursday, he appeared to struggle to keep focus while Colombia’s president, Juan Manuel Santos, was speaking.

Over the last two weeks, Trump’s official schedule was relatively light as aides made time for him to cram on geopolitics for a trip that will take him from the complexities of the Middle East to summit meetings with skeptical-to-hostile leaders in Europe.

Presidents usually sit through “pre-trip briefings galore” before foreign visits, said Michael Allen, who was an advisor to President George W. Bush.

Before Bush traveled, his White House chief of staff would carve out extensive time for senior directors on the National Security Council and other experts to brief the president. Allen said the briefings could get quite precise: “This is what you will see, what they will say, what you might discuss, what you need to know.”

But with Trump, said a Republican who formerly worked in the White House, “the trouble will be if he goes off script. Trump can’t control himself.”

At the same time, the official said, everywhere “he will be treated to respect and pageantry. Trump will eat of lot of that up.”

[email protected]

Twitter: @noahbierman

Times staff writer Michael Memoli contributed to this article

ALSO:

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Meet Robert Mueller, the former San Francisco lawyer chosen to lead the Trump-Russia investigation

Rod Rosenstein heads to Capitol Hill after appointing special counsel

UPDATES:

2:45 p.m.: This article was updated with quotes from President Trump’s news conference and other additional details.

This article was first published at 7:30 a.m.

What do Dead Kennedys’ Jello Biafra, Thurston Moore of Sonic Youth and Motley Crüe bassist Nikki Sixx have in common? They all dig Frankie and the Witch Fingers, an L.A.-based band whose irresistible garagey-psychedelic rock sometimes even invokes shades of Oingo Boingo and Devo thanks to a staccato freneticism and pointed lyrics. The diversity of FATWF’s peer-fans speak to the quintet’s wide-ranging appeal, and the title of their new 11-song album, “Trash Classic,” is a spot-on descriptor of the LP as a whole.

In their longtime rehearsal-recording room in a legendary Vernon warehouse, the band perch on a couch a few days before leaving for tour. There’s a whiteboard with a set list behind the sofa, and they share some “mood board” phrases written for the creation of “Trash Classic.” On posterboard, the bon mots include “Lord Forgive Us For Our Synths,” “Jello -B.Y.O.F. (Bring Your Own Fork) – Ra” and “Weenus.” Laughter ensues at the memories.

The lineup formed with Dylan Sizemore (lead vocals, rhythm guitar) and Josh Menashe (lead guitar, backing vocals, synthesizer) more than a decade ago, the pair meeting at college in Bloomington, Ind. In different bands, they’d seen each other’s gigs and run into each other at parties.

“I was just bored one day, and was like, ‘I wonder if this guy wants to jam.’ I had all these songs,” recalls Sizemore. “I just kind of showed up to his house, and I knew he was really good at guitar and really good at music in general.”

Josh Menashe, from left, Dylan Sizemore, Nicole “Nikki Pickle” Smith, Jon Modaff and Nick Aguilar, of the Los Angeles psych-rock band Frankie and the Witch Fingers get into character in their rehearsal space in Vernon on July 11, 2025.

(Genaro Molina / Los Angeles Times)

The San Diego-raised Menashe recalls, “I think by the time I met Dylan, I’d already dropped out [of college], though, and there were day jobs — at a screen-printing shop, I worked at a Turkish restaurant; whatever I could do to keep my music addiction going. I never really settled on a major because I just couldn’t think about what I wanted to do. Nothing made as much sense as music.”

Sizemore had been dabbling in music that was “power-pop-y, kind of like Tom Petty worship …”

“… he was in a band called Dead Beach,” Menashe adds, “and I would say it was garage rock, almost like Nirvana meets Tom Petty.”

“And Josh was in a more like surf rock, almost like mathy band. What would you describe [the band] Women as?” Sizemore asks.

“Angular, punky, buncha noise stuff,” affirms Menashe, who also played with acclaimed Bloomington-to-L.A. band Triptides starting in 2010.

In FATWF (the name comes from Sizemore’s cat Frankie) the pair’s experience and influences were varied enough to create something new that, over seven albums since 2013, has morphed into a wildly creative and raucous band with hooks, melodies, smarts, irreverence, loud guitars and wonderfully oddball synth and sounds.

A move to L.A. in 2014 and eventual changes in the rhythm section — Nikki Pickles (Nicole Smith), formerly of Death Valley Girls, joining in 2019; with drummer Nick Aguilar’s 2022 addition solidifying the band further. Jon Modaff, a multi-instrumentalist from Kentucky who played drums on tour with FATWF in 2021, joined on synth in 2024, giving the band an even broader sonic palette to realize their sometimes-oddball audio dreams.

“Trash Classic,” produced by Maryam Qudus (Tune-Yards, Alanis Morissette, Kronos Quartet) follows 2023’s “Data Doom,” which was the first album to feature Aguilar on drums. Songs are by turns epic, edgy, spacey and insistent. Some “Trash Classic” lyrics are topical and pointed: “(While the upper) class is feeding / (On the lower) babies’ food / (Microwaving) TV dinners / (With the porno) graphic news.” “Economy” minces no words: “This has got to be / The best economy / The plasma you sell / (The plasma you sell) / Buys money to eat.”

There was no grand plan or lyrical theme settled ahead of the new album’s creation. “We collectively talk about what’s going on in the world when we’re in rehearsal and stuff, and our feelings about it,” says Sizemore. “I think it’s just at a point now where talking about certain things just feels more — what’s the word? — it feels more part of the zeitgeist. Like ‘Economy,’ I wanted to write about being around abject poverty. But it makes more sense now, it fits into the context of where we are. Things that we talk about in here, about what’s going on, maybe weren’t so omnipresent, and now it feels like it is. Like, you can’t escape poverty. You can’t escape what’s happening to people less fortunate than you. It’s everywhere.”

In writing the lyrics, Sizemore thought about growing up, “seeing people trade in their food stamps to get alcohol because they’re addicted. Messy stuff like that. But it’s relevant now, it’s not just parts of the world. It’s gonna be everywhere if we don’t do something about it.”

Lyrics, while Sizemore-centric, are a collaborative process. Pickle, however, who came to bass in her 20s, says, “I just am happy to be along for the ride, and I’ll contribute where it’s helpful. I like to sit back; I guess I don’t feel qualified as a songwriter.” But, she says, “honestly, I think that that’s a helpful way to be, because if you have too many people with egos on top of each other, like, ‘no, no, no, do it my way.’ I like to listen and then insert where I can. That’s my vibe.”

Differing approaches and backgrounds serve FATWF well. Because of their “cohesive diversity and flexibility in the rock realm,” Aguilar observes, “I feel like we could play with almost anybody. At least a rock band, to any extent.”

While they’re mostly doing headlining tours, they’ve shared stages with Cheap Trick and ZZ Top. So where would FATWF overlap with the two elder statesmen classic rock lineups on the musical spectrum?

“I mean, we were really into the [13th Floor] Elevators, and…” Sizemore says.

“The Velvet Underground…” adds Pickle.

“…Roky Erickson, all that stuff. I think we tried to, like, gear our set more in that direction, just so we weren’t fully playing freaky, noisy funk stuff,” Sizemore continues. “But there’s an overlap, for sure. If we play in Atlanta or something, we’ll get someone saying, ‘Oh, the first time I saw you guys was with ZZ Top’ and that’s always cool.”

“We collectively talk about what’s going on in the world when we’re in rehearsal and stuff, and our feelings about it,” says Sizemore. “I think it’s just at a point now where talking about certain things just feels more — what’s the word? — it feels more part of the zeitgeist.”

(Genaro Molina / Los Angeles Times)

Most of Frankie’s members cite the DIY scenes in their areas as influential: Aguilar is from San Pedro and began drumming at the age of 10. He eventually played with that neighborhood’s most famous musician: bassist Mike Watt, and growing up, “discovered I don’t need to go to the Staples Center or Irvine Meadows to see a band. I could just go, like, 10 blocks away from my home on my bike to house shows,” he says, adding, “if there wasn’t the music scene in San Pedro, I probably wouldn’t be in this band. I’d probably be playing at the Whisky with some s— metal band that nobody cares about.”

An increasing number of people are caring about FATWF; Jello Biafra even joining them on stage. At a gig in Biafra’s hometown of Boulder, Colo., the punk provocateur met the band after their show. The next night, the singer showed up in Fort Collins.

“We have a lot of mutual friends,” explains Aguilar. “I work at Alex’s Bar in Long Beach. So I met him there a long time ago. He said he was gonna come see us at our Halloween show in San Francisco. I was like, ‘How would you feel if we learned some DK songs and you sang with us for Halloween?’”

He answered in the affirmative, so Frankie and the Witch Fingers learned the Dead Kennedys’ “Halloween,” “Police Truck” and “Holiday in Cambodia.” Biafra rehearsed with the band at sound check, and for the holiday show FATWF dressed up as “bloody doctors.” As for Biafra? “He changed his outfit in between every song! He was throwing fake bloody organs at the audience. You could tell half of the audience knew who he was. And half was like, ‘Yo, who the hell is this?’”

“Talking about all this like ancient history makes me feel, ‘Oh yeah, we’ve kind of come a long way,’” Pickles ruminates. Aguilar states his somewhat modest hopes for the band: “I think my realistic goal is the headline the Fonda Theater one day.”

But if larger-scale fame and fortune find Frankie and the Witch Fingers, beware: Menashe claims he’d get a face tattoo if the band sells a million records. His promise is captured by the reporter’s recorder, officially “on the record,” the band teases him. But in true FATWF fashion, Sizemore pushes it one further: “You gotta get a teardrop too!”

July 9 (UPI) — President Donald Trump on Wednesday informed seven more nations about new tariffs, singling out Brazil with a 50% duty because of what he called the “disgrace” of how former President Jair Bolsonaro has been treated and an “unfair trade relationship.”

Other nations told about rates effective Aug. 1 were the Philippines 20%, Moldova 25% and Brunei 25%, and Algeria, Libya and Iraq at 30% on goods they ship to the United States.

Trump so far has sent letters to 21 nations with seven on Monday. They all had standard language in the two-page letters, except for the one to Brazil.

Trump told current President Luiz Inacio Lula da Silva in a letter posted on Truth Social that “the way Brazil has treated former President Bolsonaro, a Highly Respected Leader throughout the World during his term, including by the United States, is an international disgrace. The trial should not be taking place. It is a Witch Hunt that should end IMMEDIATELY.”

Bolsonaro, who faces charges that he plotted to overturn his 2022 election loss against Lula, has been referred to as the “Trump of the tropics.”

Trump also noted “Brazil’s insidious attacks on Free Elections, and the Fundamental Free Speech Rights of Americans.”

And he said the United States also is launching an investigation into potential unfair trade practices by Brazil, Trump wrote in the letter.

He said the South American nation’s trade policies have caused “unsustainable Trade Deficits against the United States,” which threaten the U.S. economy and national security.

On April 2 on “Liberation Day,” Brazil was among most U.S. trading partners imposed a 10% baseline tariff. Brazil was not among the nations threatened with harsher reciprocal tariffs but on Monday, Trump threatened an additional 10% tariffs on BRICS nations, including Brazil, Russia, India, China, South Africa. The other BRICS nations are Egypt, Ethiopia, Indonesia, Iran, Saudi Arabia and United Arab Emirates

Tariffs has not sent letters to the BRICS nations except a 30% one for South Africa and 32% for Indonesia.

The U.S. has a goods trade surplus with Brazil of $7.4 billion in 2024, according to the Office of the U.S. Trade Representative.

The United States’ big imports from Brazil include crude petroleum and refined petroleum products, iron and steel, machinery and agricultural products, including fruit and vegetable juices, and meats.

“Please note that the 50% number is far less than what is needed to have the Level Playing Field we must have with your country,” Trump wrote. “And it is necessary to rectify the grave injustices of the current regime. As you are aware, there will be no Tariff if Brazil, or companies within your country, decide to build of manufacture within the United States, and we will do everything possible to get approvals quickly, professionally, and routinely, in other words, in a matter of weeks.”

On Tuesday, he signed an executive order that officially pushed back the implementation date from July 9 to Aug. 1. He said there will be no more extensions. Trump originally intended the harder penalties to take effect earlier but on April 9 he paused it 90 days.

The new tarriffs, except for Brazil, range from 20% to 40% with the latter imposed on Laos and Myanmar.

Among major trading partners, Japan and Korea were slapped with 25% duties.

The letters state that the 25% tariffs are separate from sector-specific duties on key product categories.

On Tuesday, Trump announced a 50% tariff on imported copper after 50% imposed in June on steel and aluminum.

“These Tariffs may be modified, upward or downward, depending on our relationship with your Country,” Trump wrote in the letters. “You will never be disappointed with the United States of America.”

Trump has yet to impose new tariffs on the 27-member European Union, but has said negotiations were not going well.

Trump also warned that the rates could be higher if they impose retaliatory duties.

In the latters Trump said there will be no tariff in the nation or the company “decide to build or manufacture product within the United States and, in fact, we will do everything possible to get approvals quickly, professionally, and routinely.”

U.S. stock indexes rose Wednesday, with the Dow Jones Industrial Average going up 0.49%, Standard and Poor’s 500 rising 0.61% and tech-heavy Nasdaq Composite increasing 0.95%.

Two index are just off record highs Thursday — S&P 16 points and Nasdaq 13 points. DJIA is several hundred points off a record on Dec. 4.

Stock indices in the U.S on Monday each dropped less than 1% after the letters were made public.

King Mala wants to put it all out there. And she is — at a breakneck pace.

The 26-year-old alt-pop singer released her (positively) nightmare-inducing debut album, “And You Who Drowned in the Grief of a Golden Thing,” on May 2. Since then she’s been on the road, touring along the West Coast from Vancouver to Los Angeles in support of Canadian singer Lights. After her recent appearance with Lights at the Roxy, King Mala will return to L.A. for her own headlining show at the Troubadour on June 26.

When joining a Zoom call with The Times, King Mala, whose real name is Areli Castro, admitted to running on fumes. Having just driven from Portland, Ore., to Seattle in the wee hours of the morning, Castro was contending with a central theme of her album in real time: the chasm between her dreams and the limits of her corporeal form.

“There’s this struggle between the things you want and the things you are,” said Castro. “I just love the idea of playing with grandeur and gods while still maintaining a very like human and gross and visceral vibe.”

Despite it all, she’s maintained a sunny disposition — a stark departure from the moody and dramatic feel of singles like “Ode to a Black Hole.” The macabre visuals from her current musical era evoke the same mystical energy as “True Detective” and 2024’s surprise horror hit, “Longlegs.”

Born in the border town of El Paso to a Mexican father and Puerto Rican mother, the musician grew up attending Catholic church and listening to a lot of soul music, a genre she now describes as her “bread and butter.” While she doesn’t feel stereotypically Texan, Castro still feels spiritually yoked to El Paso.

“El Paso is very, very non-Texas,” Castro said. “When I go to the rest of Texas, I’m like, ‘This isn’t my Texas.’ I grew up on [the] border — Southwestern vibes — and it’s so different than Austin or Dallas. I feel like a desert witch.”

That desert witchiness emanates from the mesmerizing sonic loops and negative space deployed in her songs, which she pairs with “found” footage inspired by ghost hunting shows, ornate Catholic crosses and sandy landscapes captured in her music videos.

Castro also spoke with The Times about how she mapped out her debut album and the life experiences that helped shape her gothic sensibilities.

This interview has been edited and shortened for clarity.

When it comes to the aesthetics of the album, it employs a lot of religious aspects. What was the intention with that?
I love religious metaphor. I find it so grand and ancient and fun to use as a vehicle to tell a story. I’m very obsessed with the collective unconscious and how we keep telling the same stories over and over and over. So using stories that I really admire as the vehicle for this was really fun. There’s just a power struggle in this album that I wanted to capture. And it felt like using the metaphor of God and humanity and of, “How do you exist as a powerful person, while also still maintaining your humanity?” That was the whole point of the album.

Does that attraction to religion and these grand ideas come from your own habit or was it a thing from when you were growing up that influenced you?
I grew up very Catholic, like cradle Catholic. My grandma always wanted us to go to Mass, so we adhered to that. But I was home schooled and the home school community is very Christian. And so I was sort of indoctrinated into that for a good amount of my formative years — middle school [and] early high school. It was very harmful and strange.

It was very interesting to see how predatory the religion is. It’s looking for kids who are lonely and scared and promising solace, which is nice, but then there’s always a backhand that’s like, “Oh, but you have to do this and you have to adhere to this and you have to follow our rules.”

Yeah, I’ve got a little bit of religious trauma to say the least. … Once I was out of that cycle and community, I realized it’s really all very similar to a cult. At what point does a cult transition into just a full religion? Is it just enough people believe it? I don’t know. So that was a bunch of the stuff that I was thinking about as we made this.

What are some media that you draw inspiration from?
I’m a big, big, big horror girlie. So that was a big inspiration. I love that being a human is so gross and I feel like we don’t realize that half the time because we’re so used to it. I love body horror. I love [movies like] “The Substance” and “The Witch.” I’m very obsessed with Robert Eggers and the way he makes beautiful, beautiful horror.

Going into [the album] I wanted to do it the way we did humanity. I wanted it to be very gross and visceral and real and if we were going to do sexy, I wanted it to be very raw. And if we were going to do body horror, I wanted it to be very intentional and intense.

Do you feel like the grossness of being human is kind of beautiful?
I love it. We’re so weird, especially our relationships to each other. It’s so sweet and strange and we love to hold hands and touch our mouths together. It’s so cute and gross and funny. I love thinking of us like we’re aliens. Like if some other creature saw us, they’d be like, “What the f— are they doing?” It’s really funny.

Are there musical acts that you drew inspiration from for this album?
For this record, we drew a lot of inspiration from “22, a Million” by Bon Iver, from Radiohead, from old school hip hop and rap. Kendrick Lamar and old Kanye West … We had a big playlist. Phantogram was on there, The xx is on there, Portishead, Little Simz — she was a big inspo — Doechii, Rico Nasty.

I was drawing from a bunch of different directions. [The production team] knew we had to create this sonic landscape before we started making the record. We wanted to do analog drums and hip-hop beats with reverbed-out, textural guitar, à la Mk.gee. We just wanted it to feel alive and analog.

What do you want people to get out of your live show?
I want people to ascend and join the character. I want it to feel like a movie. I want these songs to live and breathe and sort of experience themselves through everyone in the audience. I think live shows create like such an energy between people. I want it to feel like we’re going to church, like we’re going on a journey together. That’s the goal.