Karoline Levitt ditches religious necklace after Jon Stewart's brutal joke: ‘Some sort of weird Pinocchio cross'
Leavitt appeared for her briefing on Tuesday in a navy blazer, but she had chosen to forego her signature jewelry.
On Monday night, Stewart skewered Leavitt, saying, 'By the way, I think that the more she lies, the bigger her cross gets. Is that possible? It's like some sort of weird Pinocchio cross.'
The host also noted that Leavitt is likely to be 'the only one' who will be able to leave the administration 'unscathed … Because I don't think that she has any principles in there left to die.'
Stewart went on to say he's "not even upset with this lady. Because just rolling with the punches is clearly the only strategy for happiness when you're working for Trump.'
"Trump's very open secret has always been: He doesn't believe in or care about any policy issue at all. He wants attention, he wants his ego stroked, and he wants money. He wants f***wads and f***wads of money,' he added.
Leavitt, 27, told the Christian Broadcasting Network earlier this year that "My faith is incredibly important to me, I would argue, now more than ever, being in a role that is very demanding and at times controversial, and there's a lot of public pressure and discussion online about who you are and your family.'
She added that 'it could be difficult for someone who doesn't have faith, but with faith, all things are possible.'
Leavitt faced criticism in April for her comments about Kilmar Abrego Garcia, who was mistakenly deported to El Salvador earlier this year.
She attempted to connect Garcia to the 2023 rape and murder of a Maryland woman, whose killer was convicted that same month.
'He will never live in the United States again,' Leavitt said of Garcia.
'She gets up there, and, with a cross around her neck, she lies. She violates the ninth commandment about not bearing false witness,' Andy Levy said on The New Abnormal podcast. 'She sits up there and says over and over again that Garcia was a member of the MS 13 gang. She takes it a step further, and she says that this was a finding of an immigration court. It absolutely was not.'
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Chicago Tribune
a day ago
- Chicago Tribune
It's been 30 years since the Grateful Dead's final concerts at Soldier Field in Chicago
The longest, strangest trip embarked upon by a rock 'n' roll band ended 30 years ago this week at Soldier Field. On Sunday, July 9, 1995, the Grateful Dead played what would be its final concert with its full lineup at the stadium — the harmonious echoes of 'Box of Rain' concluding a fascinating musical journey that began in May 1965 at a small pizza parlor in California and encompassed more than 2,300 shows. Coming just before a stifling heat wave engulfed the city, the Grateful Dead's two-night lakefront stand remains memorable for many reasons — some better off forgotten. While the sextet rebounded from a Saturday production that witnessed lead singer Jerry Garcia forgetting lyrics, flubbing notes and demonstrating clear signs of ailing health, the uneven closing show concluded what's now known as the 'Tour from Hell' — a trek haunted by uninspired performances, gate-crashing incidents, weather-related injuries, death threats and deplorable behavior from some fans. Take it from someone who was there: It was a bad scene. An anomaly, really, in the Grateful Dead's local history. Though the band's newest archival trove — 'Enjoying the Ride,' a 60-disc box set themed around the group's ties to select venues — spotlights what was then Deer Creek Music Center in Noblesville, Indiana, and Alpine Valley Music Theatre in East Troy, Wisconsin, to represent the Midwest, the Dead made Chicago its go-to base in the heartland. Far surpassing the number of its respective appearances in Milwaukee, Minneapolis, Detroit, Indianapolis, Kansas City and St. Louis, the Grateful Dead played some 70 dates in the Chicago area. Not included in that tally: The regrouped collective's three 'Fare Thee Well' shows in July 2015 at Soldier Field. Clever marketing lingo aside, nothing disguises the fact that the band ceased when Garcia died of a heart attack shortly after turning 53 in August 1995. Here are 10 of the most significant visits from a band that looms perhaps even larger today than during its existence. More than three years after forming, the Grateful Dead arrived for its Chicago debut at a bygone Uptown venue that hosted legends such as Led Zeppelin and The Who before they became massive. Freshly discharged from the Air Force, keyboardist Tom Constanten officially joined the collective earlier in the week. The Grateful Dead is nascent enough that no definitive setlist information survives for either show. Reporting on the second night for the Tribune's youth music column, Robb Baker amusingly observed: 'They have no good vocalist; their material itself is not that memorable (you don't go around humming Dead tunes); and it takes them forever to really get warmed up.' Ultimately, he succumbed to the band's eclectic charms and gave it a rave. The Grateful Dead returned to the same location the following January and again that April. A portion of the latter visit is documented on 'Dick's Picks Volume 26.' Mirroring the right-into-the-fire experience of his predecessor, Constanten, whose brief tenure ended in early 1970, keyboardist Keith Godchaux had one show under his belt when the Grateful Dead arrived for its second of a career total of four residencies at Auditorium Theatre. He was tasked with spelling the playing of beloved original member Ron 'Pigpen' McKernan, on hiatus due to health problems that led to his death in early 1973. Adding to the pressure? The Grateful Dead premiered an array of new tunes ('Tennessee Jed,' 'Comes a Time,' 'Jack Straw,' 'Mexicali Blues' 'One More Saturday Night' among them). And Oak Park radio station WGLD-FM broadcasted night one, which contained the final performance of the obscure ditty 'The Frozen Logger.' Godchaux, who stayed with the Grateful Dead until 1979, passed his test. Both concerts sizzled. The first, which prompted the Chicago Sun-Times to predict 'a revival for dance halls' and Tribune critic Lynn Van Matre to deem the band 'relaxed, yet very much together,' featured a 'St. Stephen'-led encore. The second, chronicled on 'Dave's Picks Volume 3,' sparked with a transcendent 'That's It for the Other One' suite. No regional Grateful Dead show witnessed more back-and-forth planning drama than the band's sole Evanston date. Daily Northwestern archives show that attempts to book the group began in April 1970. Efforts to land the band for the university's 1973 homecoming unfolded over several months. Debates pitted organizers against administrators fearful of issues related to security, safety, cost and behavior by non-campus attendees. Despite opposition from the dean and contractual uncertainty that stretched into mid-October, the student government — with a big assist from Jam Productions — secured the artist it wanted. Northwestern students paid $4.50, one dollar less than the public. But more money than the estimated 50 to 100 people who gained entrance by buying discounted admission from entrepreneurial kids who found untorn tickets discarded under the bleachers by a careless Jam attendant and re-sold them outside. Inside, amid Halloween decor and a capacity crowd, the Grateful Dead played four hours despite guitarist-vocalist Bob Weir reportedly feeling under the weather. Part of the show can be heard on the two-disc 'Wake of the Flood' reissue. The Grateful Dead's second and final concert at the now-demolished Canaryville arena marked the only local appearance of the band's complete, near-mythical Wall of Sound. The subject of 'Loud and Clear,' a brand-new book by Chicago-based writer Brian Anderson, the pioneering sound reinforcement system became as famous for its spectacular fidelity as its immense size. Because the 75-ton array proved incredibly labor-intensive and expensive to schlep from show to show, the group retired it in October 1974. In addition to marking the group's last area gig for nearly two years, this excellent mid-summer performance remains noteworthy for a collaborative interlude between Grateful Dead bassist Phil Lesh and Ned Lagin. The electronic composer experimented with Lesh nearly two dozen times using the Wall of Sound and released his quadraphonic 'Seastones' album on the group's record label. Garcia, Weir, Lesh and percussionist Mickey Hart's afternoon appearance at Rambler Room — a hybrid cafeteria/gathering space in the now-razed Centennial Forum on Loyola University's Rogers Park campus — doesn't technically qualify as a Grateful Dead show. But few Chicago dates harbor more intrigue than this impromptu 'Bob Weir and Friends' gathering. Seated in front of a hand-drawn Hunger Week poster, the band members performed acoustically together for the first time since 1970. They dug into chestnuts — Jelly Roll Morton's 'Winin' Boy Blues,' the traditional 'Tom Dooley,' the Memphis Jug Band's 'K.C. Moan,' Weir's 'This Time Forever' — the Grateful Dead never before or again attempted in public. The first rendition of 'Knockin' on Heaven's Door,' a Bob Dylan number the full group wouldn't play until 1987, anchored the set. After finishing with a romp through Buddy Holly's 'Oh Boy!,' the quartet headed a couple miles south to Uptown Theatre for its second show of a three-night run. Though the Grateful Dead usually kicked off the year in California or on the East Coast, Chicago got the honor in 1981 when the group launched its spring jaunt at Uptown Theatre — an architectural gem that still sits, decaying, awaiting its second act. The three-night run marked the Grateful Dead's sixth and final hurrah at the movie palace, which closed its doors for good that December. (Jerry Garcia returned in June with his namesake band.) Due to an intimacy and acoustic signature that would cause the balcony to vibrate from certain frequencies, Uptown Theatre quickly became known among fans as a magical spot to see the group. The feeling seemed mutual. In the span of 37 months, the band headlined an astonishing 17 shows at Uptown Theatre, which hosted the Grateful Dead more times than any local venue. A-list examples of early '80s Grateful Dead, these shows should be short-listed for the band's ongoing archival series. Relatedly, the group's Dec. 3, 1979 date at Uptown Theatre comprises 'Dave's Picks Volume 31.' As the Grateful Dead waded into the mid-'80s, the odds of catching a truly great show declined. Garcia, his disheveled hair increasingly gray, ballooned in weight and often lost a beat. The band shunned the studio, releasing no original albums between 1980 and 1987. Yet the concert vibes remained healthy and the scene mellow, free of the toxic misconduct that violated the Deadheads' unspoken 'do no harm' ethic after the group's popularity exploded in the late '80s. Plus, the group still channeled bursts of imagination. This pair of dates represents the Grateful Dead's only appearance at a welcoming outdoor venue that ultimately gave way to a new, far inferior option 60 miles away in Tinley Park. Too bad. Once a favorite among tape traders, June 27 saw the band scamper through one of the first performances of 'Hell in a Bucket' and lock into a fervent 'Scarlet Begonias' into 'Fire on the Mountain' coupling. The next evening sounded nearly equally on point and culminated with the New Orleans staple 'Iko Iko' unveiled as an encore for one of just three occasions in the group's career. Given these concerts capped the Grateful Dead's stellar 1990 summer tour, a trek that piggybacked onto a spring trek that stands as one of the most acclaimed in the band's history, they should evoke only joyous memories. As delightful as the performances remain, they are overshadowed by the death of keyboardist Brent Mydland — whose drug overdose on July 26 permanently altered the trajectory of the band and sent Garcia into a dark spiral — and nightmarish management. Frustrated with limited road access into the venue and impassable traffic jams, fans parked their cars on the highway and walked the rest of the way. Commercial truck traffic ground to a halt. State police closed westbound lanes on I-80 from I-57 to Harlem Avenue, and ordered hundreds of vehicles towed. Unaccustomed to large concerts in their area — World Music Theatre opened that June — neighboring residents also complained about the alleged invasion of Deadheads who cleaned out stores of certain supplies and foodstuffs. Then, there were the insurmountable shortcomings of the venue that, in the words of renowned Grateful Dead sound engineer Dan Healy, constituted 'the most awful sounding place I've ever heard in my life — it's beyond my wildest imagination.' Suffice it to say the band wasn't asked back. The Grateful Dead collaborated onstage in the '90s with esteemed jazz saxophonists Branford Marsalis, Ornette Coleman and David Murray on the coasts, the same regions its brief 1987 trek with Bob Dylan unfolded. Local fans starved for a similar treat lucked out at the first of the band's two-night Soldier Field engagement when opener Steve Miller joined the ensemble for four songs in the second set and an electrifying encore of Them's 'Gloria.' Extending the bluesy motifs, Chicago-based harmonica virtuoso James Cotton also guested on the latter number as well as on a smoky version of Sonny Boy Williamson's 'Good Morning Little Schoolgirl' and charged take of Bobby Bland's 'Turn on Your Lovelight.' Such location-cognizant nods and unexpected twists — which extended to a blaring train whistle during the psychedelic 'Space' sequence — confirmed the Grateful Dead could still surprise and awe, even in stadium settings. The Grateful Dead commenced its spring 1993 outing with a radiant 'Here Comes Sunshine' and didn't look back until its second-to-last residency at Rosemont Horizon concluded a few nights later. Reinvigorated with a batch of promising new songs ('Liberty,' 'Days Between,' 'Lazy River Road,' 'Broken Arrow,' 'Eternity') and eager to refine recent material road-tested a year prior ('So Many Roads,' 'Wave to the Wind,' 'Way to Go Home'), the band strongly suggested it had more to offer in its fourth decade together. And yet, bittersweetly, Garcia's beautiful, gospel-etched timbre and choice of poignant material — a somber 'Knockin' on Heaven's Door,' a spiritual 'Standing on the Moon,' a symbolic cover of Dylan's 'It's All Over Now, Baby Blue' — indicated an acute awareness of endings and mortality. Both would wait. On March 10, the band stunned everyone with the rare, and final, 'Mind Left Body Jam.' At the finale, Chicago word-jazz poet and radio announcer Ken Nordine further shattered sensory perceptions by reciting 'Flibberty Jib' and 'The Island' during the 'Drums' into 'Space' improvisation. We never saw it coming. In other words, signature Grateful Dead. Then, and now, a band beyond description.
UPI
2 days ago
- UPI
Deportation lawsuit involving Boulder suspect's family dismissed
Mohamed Sabry Soliman, 45, is pictured in his mugshot released by the Boulder (Colorado) Police Department on Monday, June 2, 2025. A judge on Wednesday dismissed a lawsuit filed by his family who are fighting deportation. File Photo via Boulder Police Department/UPI | License Photo July 3 (UPI) -- A federal judge has dismissed a lawsuit filed by the family of the man accused of attacking a group of Jewish demonstrators in Colorado last month, ruling that despite confusion caused by the Trump administration, they are receiving their full rights under immigration law and their deportation proceedings are not being expedited. Hayam El Gamal and her five children were detained by federal immigration agents on June 3, days after her husband, 45-year-old Egyptian national Mohamed Sabry Soliman, allegedly wounded more than a dozen people attending a weekly Boulder, Colo., event in support of Jewish hostages held by Hamas using a makeshift flamethrower and Molotov cocktails. One of the wounded, 82-year-old Karen Diamond, died of her injuries, prosecutors announced Monday. The family has been fighting deportation since their detention, believing their removal process was being expedited, which is not permitted under the Immigration and Nationality Act, as they have been in the country for more than two years. They received temporary restraining orders preventing their removal as the judge reviewed the case. On Wednesday, U.S. District Judge Orlando Garcia dismissed their lawsuit without prejudice, finding that despite the confusion over whether their deportation was being expedited, they were, in fact, placed into ordinary removal proceedings and would appear before an immigration judge where they could seek protection from removal. "Accordingly, to the extent that petitioners seek to enjoin their removal on an expedited basis, this request is moot," Garcia said in her ruling. "And to the extent that petitioners seek to enjoin their being subjected to ordinary, or 'full,' removal proceedings, such relief is not available to them." The confusion over their removal proceedings arose from Trump administration statements published the day they were detained. The White House posted a statement to X claiming that "six one-way tickets for Mohamed's Wife and five kids" had been arranged and that "final boarding call coming soon." The tweet ended with an emoji of an airplane. A second tweet from the White House said "THEY COULD BE DEPORTED AS EARLY AS TONIGHT." The statements prompted the family to file a lawsuit seeking to halt their expedited removal. Garcia highlighted the confusion caused by the White House messaging in her ruling, but said the government has since clarified that this is not the case. "The court hastens to remind petitioners that they still have an avenue for seeking their release from detention while their removal proceedings continue," said Garcia, a President Bill Clinton appointee. The Department of Homeland Security celebrated the ruling without acknowledging the confusion caused by the White House's messaging. "This is a proper end to an absurd legal effort on the plaintiff's part," Assistant Secretary Tricia McLaughlin at the Department of Homeland Security said in a statement. "Just like her terrorist husband, she and her children are here illegally and are rightfully in ICE custody for removal as a result." DHS has previously argued that the Soliman family is in the United States illegally. According to an earlier statement from DHS, Soliman, his wife and their five children first came to the United States on Aug. 27, 2022, and filed for asylum about a month later. They were granted entry until Feb. 26, 2023, and had apparently overstayed their visas since. Soliman has pleaded not guilty to 12 federal hate crime counts.
Yahoo
2 days ago
- Yahoo
Abrego Garcia severely mistreated in El Salvador prison, his lawyers say
By Kanishka Singh WASHINGTON (Reuters) -Kilmar Abrego Garcia, the migrant returned to the U.S. in early June after being wrongfully deported to his native El Salvador, reported severe mistreatment in a high-security prison in the Latin American nation, according to a court filing on Wednesday. WHY IT'S IMPORTANT Wednesday's filing in the U.S. District Court for the District of Maryland marked the first time Abrego Garcia gave a first-hand description of his experience at the Salvadoran prison CECOT. A Maryland resident whose wife and young child are U.S. citizens, he was deported on March 15 to El Salvador, despite a 2019 immigration court ruling that he not be sent there because he could be persecuted by gangs. Officials called his removal an "administrative error." KEY QUOTE "Plaintiff Abrego Garcia reports that he was subjected to severe mistreatment upon arrival at CECOT, including but not limited to severe beatings, severe sleep deprivation, inadequate nutrition, and psychological torture," his lawyers said in the filing, adding he lost 31 pounds in his first two weeks there. CONTEXT Critics of U.S. President Donald Trump pointed to the case as evidence his administration was prioritizing increased deportations over due process, the principle that people in the U.S., whether citizens or not, can contest governmental actions against them in courts. Trump has pledged to crack down on illegal immigration and says Abrego Garcia belongs to the MS-13 gang - an accusation his lawyers deny. The Department of Homeland Security on Wednesday reiterated U.S. accusations against him in an online post. The Justice Department brought Abrego Garcia back to the U.S. on June 6 after securing an indictment charging him with working with at least five co-conspirators as part of a smuggling ring to bring immigrants to the U.S. illegally. He has pleaded not guilty and the government says it plans to deport him again. He is currently detained in Tennessee while his criminal case is pending.
