Jack White and Olivia Jean are going to be (just) friends. The couple is calling it quits after more than four years of marriage.

According to court documents reviewed by TMZ, Jean filed for divorce on June 3 in Nashville, and cited the same date as their date of separation. The petition alleged that White was “guilty of inappropriate marital conduct, which makes further cohabitation unsafe and improper.”

In Tennessee, “inappropriate marital conduct” is a commonly cited ground in a fault-based petition for divorce. Although the official statute defines this as a spouse being guilty of “cruel and inhuman treatment or conduct,” legal experts at the Hoffman Law and Mediation Office note that the actual behaviors qualifying under the law serve as a general catch-all.

This is White’s third marriage, and divorce, as the former White Stripes frontman was previously married to Stripes drummer Meg White and model-singer-songwriter Karen Elson.

The split comes more than four years after Jean, also a musician, married White onstage, mid-performance, in Detroit. “Ladies and gentlemen, it’s been such a beautiful day, I’m thinking why don’t we just do this right now and get married right now?” White said before asking Jean’s father, Brent Markel, who was in attendance, if the couple had his blessing.

“Yes,” said Markel, hugging White.

Then White called his Third Man Records co-founder, “Minister Ben Swank,” onstage to perform the nuptials, and the pair said their “I do’s” to thunderous applause from the crowd.

In July 2022, Jean told the New York Times that it was the best experience of her life. “You could plan a wedding for five years and it wouldn’t compare to that.”

Former Texas Tech quarterback Brendan Sorsby has been informed by the NFL that the league will not hold a supplemental draft prior to the 2026 season.

The news came days after Sorsby dropped a lawsuit against the NCAA which had resulted in an injunction that would have allowed him to play for the Red Raiders this season despite a permanent ban for wagering on college sports.

With that injunction being challenged in court, Sorsby determined he would give up the remainder of his college eligibility and enter the NFL supplemental draft by its June 22 deadline.

Article 6 of the NFL’s collective bargaining agreement appears to allow the league to determine each year whether to hold a supplemental draft for players who become eligible to play after the regular NFL draft.

Larry Ferazani, general counsel of the NFL Management Council, told Sorsby in a letter on Tuesday that the league had already determined not to hold a supplemental draft this year before receiving his application.

“The League has not conducted such a draft for several years and, prior to your submission, the League had no plans to do so this year, as no other player has sought entry,” Ferazani wrote. “Your Petition — filed three business days before the deadline, without any supporting information or documentation, and only after abandoning your recent litigation efforts to avoid NCAA sanctions — does not provide a basis for the League to alter those plans. The issues presented by your Petition are too significant, and too closely tied to the League’s core integrity interests, to permit meaningful review within the timeline presented.”

Sorsby’s attorney, Jeffrey Kessler, told ESPN that the decision “is a violation of the CBA and the law. We will pursue this immediately with the NFLPA.”

The NFLPA did not immediately respond Tuesday to a request for comment.

Sorsby played two years each at Indiana and Cincinnati before transferring to Texas Tech this offseason for a reported multimillion-dollar deal. Court records show Sorsby has admitted to betting on Hoosiers football games he was not participating in during the 2022 season.

According to NCAA guidelines, student-athletes who bet on their own games or on other sports at their school could “potentially face permanent loss of collegiate eligibility.”

Texas Tech was informed of an NCAA investigation into Sorsby’s gambling activity in March. He was later declared ineligible according to the association’s bylaws. In May, Sorsby filed a lawsuit in Lubbock County District Court to have his eligibility restored, leading to the injunction earlier this month that would have allowed him to play for the Red Raiders in 2026. He would have had to miss the first two games of the season as one of the conditions of the ruling.

Lawsuits were filed by the NCAA and the Big 12 Conference that could have taken away Sorsby’s eligibility again. That ultimately led to Sorsby foregoing his final college season with the intention of entering the NFL’s supplemental draft this summer.

“This decision was made with Brendan and his family and is purely an output of practical analysis of the situation,” Cody Campbell, chairman of the Texas Tech board of regents, wrote in an open letter announcing the decision June 16. “Brendan and Texas Tech stand on very solid and legitimate legal ground, but he faces a June 22nd deadline to be eligible to enter the NFL’s supplemental draft, and there is no practical way to resolve all the various pending legal disputes and ensure his eligibility prior to this date.”

That plan hit another snag on Tuesday. Ferazani’s letter indicates numerous issues with Sorsby’s petition for inclusion in a supplemental draft, including no complete record of the NCAA’s investigation that led to his ban.

In addition, Ferazani writes, Sorsby’s petition does not “demonstrate accountability for your conduct or indicate whether, or how, you would adhere to the League’s rules and policies governing the integrity of competition.”

“Instead, even after receiving notice of the NCAA’s decision rescinding your college eligibility in May, you sought to avoid the consequences of that determination through litigation rather than accepting responsibility for your actions, and you pursued entry into the NFL only after abandoning those efforts,” Ferazani wrote.

“As Commissioner Goodell has emphasized, participation in the NFL is a privilege that carries with it significant responsibilities, including accountability. By all accounts, you are a talented player with the potential for future success. We encourage you to focus on preparing for possible entry into the NFL through the 2027 NFL Annual Draft.”

Questions surely will follow Dusty May as he leaps to the Dallas Mavericks after coaching Michigan to the NCAA national championship.

Can he provide blessed amnesia to the Mavericks faithful? Can he help them forget Luka Doncic and Nico Harrison and Anthony Davis and Jason Kidd? Can he allow them to peer into a future anchored by budding superstar Cooper Flagg without constantly checking the rearview mirror?

May, 49, was hired Tuesday as the Mavericks’ head coach,. He led Michigan to the pinnacle of March Madness last season and posted a 64-13 record in two years. He also coached Florida Atlantic to the 2023 Final Four and a 60-13 record in the last two of his six seasons there.

“We set out to find a leader who embodies the values we want to define our organization,” Mavericks president Masai Ujiri said in a statement. “Dusty has won at every stage of his career because of his ability to build. He develops players, creates accountability, and brings people together around a shared standard of excellence. His work ethic is extraordinary, and his teams consistently reflect his values.”

The list of high-profile college coaches who struggled to replicate their success in the NBA is daunting: Rick Pitino, John Calipari, John Beilein, Lon Kruger, Tim Floyd and Mike Montgomery immediately leap to mind.

Not only did May not coach or play in the NBA, he barely played in college. He was a 5-foot-10 point guard at NAIA Oakland City for one season before transferring to Indiana and serving as team manager under coach Bobby Knight.

But his arrival will divert attention from the past, from the hugely unpopular and disastrous trade of Doncic to the Lakers for Davis and spare parts on Feb. 1, 2025.

Mavericks fans staged a faux funeral complete with a casket a day later in front of the Dirk Nowitzki statue outside the American Airlines Center. They booed Harrison — the general manager who engineered the deal — at every home game and chanted “Fire Nico.”

When Doncic returned as an opponent, Mavericks fans chanted “MVP” when the Lakers player shot free throws.

Harrison admitted to underestimating the backlash from fans but defended the trade, initially saying he had “no regrets.” By November, he was fired and updated his social media profile to “unemployed.”

Next to go was Kidd, a Hall of Fame point guard who helped the Mavericks to their only NBA title as a player and to the NBA Finals as a coach. At the time, it wasn’t clear whether Kidd was an advocate of the Doncic deal or a victim of a front-office blunder. But Mark Cuban, the Mavericks’ former majority owner who currently owns 27% of the team, indicated March 31 during a podcast that Kidd was complicit.

“I think there was animosity between [Harrison] and some people on Luka’s team — his agent and some of the people around them,” Cuban said. “I don’t think they got along. I think there were issues.

“J-Kidd had coached Anthony Davis and was close to him, and Nico was close to AD since he was like 13 years old. So I think there was some confirmation bias as well. But that doesn’t justify our coach and our general manager to stand up and trade our best player.”

Doncic, 26, flourished in his first season in Los Angeles despite a late-season injury that kept him out of the playoffs. The shooting guard led the NBA with 33.5 points per game and he will be a franchise cornerstone. Davis played only 20 games with Dallas because of injuries and in February was traded to the Washington Wizards.

The makeover began when the Mavericks secured the first pick in the 2025 NBA Draft despite having only a 1.8% chance of obtaining it through the lottery. They took Flagg, a forward from Duke who went on to lead Dallas with 21 points per game and was named Rookie of the Year.

Next, they hired respected former Raptors executive Ujiri as team president. And now they have added May as coach. This week they will add two more promising players via the first round of the NBA Draft.

“I am honored to join the Dallas Mavericks organization,” May said in a statement. “This is one of the most respected franchises in professional sports, with passionate fans, a talented roster, and a clear commitment to building a championship organization.”

The franchise is trying to eliminate reminders while attempting to instill hope for the future.

“When you study [May’s] journey, you see someone who has earned every opportunity through preparation, discipline, humility, and an unwavering commitment to improvement,” Ujiri said. “We believe those qualities make him the right leader for the Dallas Mavericks.”

Meanwhile at Michigan, a loaded roster will report to interim coach Mike Boynton Jr., May’s top assistant and the head coach at Oklahoma State from 2019-2024. Players are allowed to enter the transfer portal for 15 days following a coaching change, so job one for Boynton will be to keep them from fleeing.

A coalition of advocacy groups for artists, songwriters and managers is warning musicians about the growing risks of artificial intelligence music.

Recently, many major record labels have inked deals with AI music startups such as Suno, Udio and Klay. But the coalition, which includes organizations such as the Music Artists Coalition and the Songwriters of North America, argues in a new letter that “artists and songwriters whose works, voices, performances, likenesses and creative identities make those deals valuable are not being meaningfully consulted.”

The letter, released Monday, stated that many artists and songwriters in existing recording and publishing agreements are currently receiving letters from their labels and publishers claiming that they “will be opted in to AI-related uses by default, with little actual choice offered.”

“We support innovation and recognise that AI can create new opportunities for music,” the coalition wrote in the letter. “However artists are not simply catalogue assets, and innovation cannot be used to override artists’ rights.”

The National Independent Talent Organization, a live entertainment advocacy group that signed the letter, said many of its members are coming to the organization with label contracts that include “non-negotiable AI usage clauses.”

“We can’t allow for contract language signed decades before this technology existed to be the standard bearer. These rights belong to the creators and they get the final say on usage,” said Nathaniel Marro, NITO’s executive director, in a statement .

“Music companies are leading the fight to protect artists’ and songwriters’ rights in the age of AI,” said a spokesperson for IFPI, the recording industry’s global trade body.

“While our members have taken different approaches, they share the same fundamental objectives: combating the unauthorized use of music and establishing licensing models that return revenue to artists and songwriters,” the IFPI spokesperson added.

The coalition is asking the industry to move forward on AI deals only under four conditions: that musicians directly consent to any agreement; that artists receive fair compensation; that there be transparency between the companies and the talent; and that companies make a public commitment to end contracts built on default AI opt-ins and forced AI clauses.

“Artists need a real seat in these conversations, clear terms on revenue share, and the ability to say no without losing their deal,” said Ron Gubitz, the Music Artists Coalition’s executive director, in a statement.

This letter comes at a time when policymakers are reviewing copyright rules in response to AI and when streaming platforms and social media platforms are overflowing with AI-generated music.

The American Federation of Musicians recently sued Universal Music Group and Warner Music Group, alleging the major labels “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.

Some signatories struck a more conciliatory note.

“The companies building these technologies understand that trust is essential to long-term success, and trust begins with respecting creators’ rights,” said Willie “Prophet” Stiggers of the Black Music Action Coalition, which signed the letter.Stiggers said in a statement to The Times. “There’s still important work ahead, but we’re encouraged that the conversation has shifted from whether protections are needed to how we build them together.”

Times staff writer Wendy Lee contributed to this report.

A man who walked into a Target store in Simi Valley and attacked customers, strangling one, in a violent incident captured on video has been charged with multiple felonies in Ventura County, prosecutors announced.

Rejean Morgan Tabor, 34, was charged Monday with attempted murder, two counts of misdemeanor battery and one count of child abuse and assault, in connection with the June 17 incident, the Ventura County district attorney’s office said in a news release.

According to prosecutors, Tabor walked into a Target store, approached a female shopper from behind and began strangling her and covering her mouth and nose. A customer captured the incident in a series of clips posted on Facebook.

In the video, a man can be seen attacking a woman on the ground as another woman tries to pull him off from behind. That woman falls backward and the attacker gets up and approaches her before the video cuts out.

The video then cuts to the attacker facing off with two men who have intervened, exchanging punches with one of them before running through the store with the men in pursuit. Other customers are heard in the background screaming and crying. One woman says the woman who was being strangled was nearly dead when the attacker was confronted.

The video then cuts to the produce section of the store, where two officers stand off with the man who authorities say is Tabor, tackling him to the ground and handcuffing him.

Prosecutors said the incident occurred less than 14 hours after Tabor was released from custody on mandatory supervision, after he completed his sentence for two separate Ventura County criminal cases.

Tabor did not enter a plea at his arraignment Monday because his defense attorney raised doubts about Tabor’s competency to stand trial. He will remain in custody with a competency hearing scheduled for July 16. His bail is set at $750,000.

Attorneys general in seventeen states are suing California over its landmark single-use plastic law, which went into effect on June 1.

The lawsuit comes after a coalition of environmental groups sued the state over the same law this month, arguing the new final regulations create loopholes so large they gut the law.

The states are led by Nebraska Atty. Gen. Mike Hilgers, and the plaintiffs include the National Assn. of Wholesaler-Distributors. The coalition is asking the court to block enforcement of the law immediately.

“Once again, California is trying to enact a policy that negatively impacts the rest of the country,” said Hilgers in a news release. “If California goes unchecked, consumers will be forced to pay more for basic necessities.”

The other states in the coalition are Alabama, Florida, Georgia, Idaho, Indiana, Iowa, Louisiana, Missouri, Montana, North Dakota, Oklahoma, South Carolina, South Dakota, Texas, Utah and West Virginia. The lawsuit was filed in the U.S. District Court of Eastern California in Sacramento on Monday.

State Senate Bill 54, the Plastic Pollution Prevention and Packaging Producer Responsibility Act, was signed by Gov. Gavin Newsom in 2022. It was considered landmark legislation because it requires plastic and packaging companies to use less single-use plastic and ensure by 2032 that all food packaging is either recyclable or compostable.

Accumulating plastic waste is overwhelming waterways and oceans, sickening marine life and threatening human health.

The intent was not only to reduce single=use plastic, but also to put the onus and cost of dealing with it on packaging producers and manufacturers, not consumers and local governments. It was supposed to incentivize companies to consider the fate of their products and spur innovation in material redesign.

According to one state analysis, 2.9 million tons of single-use plastic and 171.4 billion single-use plastic components were sold, offered for sale or distributed during 2023 in California.

The single-use plastic law is what is known as a producer responsibility law. It emphasizes the idea of a “circular economy” in which the producer of a material must consider its fate — making sure it can be reused or recycled, or at least reduced.

In California, all producers of single-use packaging and plastic foodware (plates, knives, spoons, etc.) join a private entity known as a producer responsibility organization. Only one such organization has been approved in California: the Circular Action Alliance.

The states and the National Assn. of Wholesaler-Distributors say the plastic law discriminates against businesses selling into the state in two ways: by making them change or alter their plastic packaging and by conferring government authority upon the alliance, enabling a private entity to regulate and impose taxes and fees on businesses selling into California.

“California is not entitled to pronounce nationwide policies,” Eric Hoplin, president and chief executive of the wholesalers group, said in a statement. “Because the Act extends California’s regulatory reach far beyond its borders and brings within its sweep conduct wholly unconnected to California, the Act violates principles of federalism, the horizontal separation of powers, and due process.”

In addition, the attorneys general say the law suppresses their free speech by compelling companies to join and fund the speech of an organization with which they may disagree.

Hoplin and his organization filed a similar suit in Oregon in February. Oregon has a comparable single-use plastic law. A federal judge blocked enforcement of that law. A trial begins on July 13.

Heidi Sanborn, executive director and CEO of the National Stewardship Action Council, which advocates for the producer responsibility laws and a more circular economy, said in May that both SB 54 and the Oregon law are public policies that were “passed by legislatures and implemented with government oversight.”

She said the laws create clear and consistent rules so all producers contribute fairly to the cost of recycling and waste management.

Meanwhile, environmental groups are also unhappy.

On June 2, Oceana, the Natural Resources Defense Council and Californians Against Waste Foundation filed a lawsuit in San Francisco Superior Court.

They allege that the final regulations for the law, drafted and approved by the state’s waste agency, include exclusions for large categories of plastic packaging that companies could use indefinitely. In addition, they say, the regulations also allow for recycling technologies that pollute, such as chemical recycling, which the law as originally drafted forbids.

“While SB 54 remains a monumental achievement as the nation’s strongest single-use plastic reduction law, some of the final regulations implementing the statute undermine the law’s ambitions,” Christy Leavitt, Oceana’s senior campaign director, said in a statement.

Barry Manilow has told the story behind his first big hit so many times that I had no intention of bringing up the half-century-old “Mandy” when I sat down with the singer on a recent afternoon at his home in Palm Springs. Among the questions I did ask was how he ended up recording the song that opens his new album, and the answer — as it’s so often been throughout Manilow’s career, beginning with that 1975 chart-topper — was Clive Davis.

“It was all Clive,” Manilow said of “Once Before I Go,” the Peter Allen/Dean Pitchford number that leads off his just-released “What a Time” LP. Davis, the star-making record executive with the so-called golden ears, had been urging him to record the song for years, Manilow told me, which inevitably brought him back to the well-rehearsed tale of “Mandy” — to Davis’ decision that Manilow’s debut for his Arista label lacked a breakout smash and to his suggestion that the singer cut a version of a modest hit called “Brandy” by Scott English.

“So I went in the studio and did it trying to sound like that guy,” Manilow recalled, stomping his foot to approximate a lumbering rock beat. “Clive came in and said, ‘That’s terrible.’ I said, ‘I know it’s terrible.’ But in order to learn the song, I’d slowed it down and changed the key — I found the love song hiding in ‘Brandy,’” Manilow continued. (He also changed the title to avoid any confusion with Looking Glass’ “Brandy,” which had recently reached No. 1.) Manilow played the tune in his more romantic style for the exec. “I’ll never forget it — Clive said, ‘Just do that.’ And that was the record.” He laughed.

“He’s a kind of a genius.”

Davis, who died Monday at age 94, didn’t sing or play an instrument. “I knew nothing about music,” he once said, looking back at his entry into the record business. Yet his instincts made him one of the surest spotters and nurturers of talent in pop history, with a long — and varied — line of success stories that included Manilow, Janis Joplin, Neil Diamond, Lou Reed, Patti Smith, Whitney Houston, Aretha Franklin, Dionne Warwick, Alicia Keys, Jennifer Hudson and Maroon 5, among many others. He even helped the Grateful Dead score a Top 10 single with “Touch of Grey” in 1987.

Davis, who got his start in Columbia Records’ legal department, could identify original voices and seemed to intuit which songs were likely to become hits. Sometimes the hits came from the voices themselves, as in the case of Bruce Springsteen, whom Davis cajoled into writing “Blinded by the Light” for his Columbia debut; sometimes the exec match-made performers and composers, as in the case of “Mandy” or “Freeway of Love,” a zippy Narada Michael Walden jam that launched Franklin’s comeback in the mid-1980s.

A natty dresser with a cosmopolitan air, Davis founded Arista in 1974 after he was fired from Columbia (where he’d ascended to the presidency) amid an embezzlement scandal of which he was later cleared. In 2000, he was ousted from Arista in a corporate shakeup — just months after the label won eight Grammy Awards with Carlos Santana’s 15-times-platinum “Supernatural” LP — then launched a new label, J Records, which scored an immediate blockbuster with Keys’ “Songs in A Minor.”

Wherever he worked, Davis’ goal was shepherding hits that spanned formats and generations; he delighted in projects like “Smooth,” the inescapable Santana single pairing the rock guitarist and Rob Thomas of Matchbox Twenty, and a series of Great American Songbook albums by the once-scruffy Rod Stewart. He might also have been the music industry’s biggest believer in ballads, at least among suits: Between 1985 and 1992, Houston alone released almost a dozen of music’s all-timers, including “Saving All My Love for You,” “Didn’t We Almost Have It All” and — perhaps the greatest pop ballad ever recorded — her take on Dolly Parton’s “I Will Always Love You.” (It wasn’t a huge hit, but listen to Houston and Jermaine Jackson’s pedal-steel-drenched “Nobody Loves Me Like You Do,” from Houston’s debut, for an early instance of that crossover ambition.)

One of relatively few nonperformers inducted into the Rock & Roll Hall of Fame, Davis brought his flair for variety to the party he threw at the Beverly Hilton every year on the night before the Grammys — a famously hot ticket that drew A-list celebs from the worlds of music and Hollywood as well as business and politics. You could always count on the exec to have persuaded some number of the year’s splashiest new acts to perform; this year’s bash, in January, had Sombr, Olivia Dean and the women of “KPop Demon Hunters.” But my favorite part of the show was always seeing which veteran Davis had tapped to mix it up with the youngsters — Diamond or Manilow, for instance, or Johnny Mathis, who absolutely killed in 2015.

Davis horrified many in 2012 when he opted to proceed with his party just hours after Houston was found dead in a hotel room at the Beverly Hilton. In the years after the singer’s death, Davis drew criticism for taking too much credit for Houston’s artistic achievements; to some, he became a symbol of the music industry’s efforts to tone down Houston’s Blackness in order to reach white audiences. Five years ago, I asked Warwick, who was Houston’s cousin, whether she’d taken on any kind of consulting role on “I Wanna Dance With Somebody,” the 2022 Whitney biopic that Davis produced.

“Not one thing,” she told me. “I want them to let Whitney rest in peace. Leave her alone. Ten years [since she died] — it’s time to let her sleep.” (In a statement Monday, Warwick called Davis her “dear friend” and said she “can think of no other record man that seemed to have that magical ability to know a hit when he heard a song.”)

I spoke with Davis many times over the years and was always struck by his enthusiasm about music and about his recall of events from decades ago. In 2017, I interviewed the exec alongside Mathis and Kenneth “Babyface” Edmonds about a record the three made together that had Mathis singing newish pop songs like Adele’s “Hello” and Pharrell Williams’ “Happy” — a concept Manilow told me in March he and Davis had been talking about replicating. After my story ran, Davis emailed me and said he’d enjoyed the piece, which had a couple of lines about Davis’ tendency to go overboard hyping his projects.

“Yes, a few of your bites required a personal Band-Aid,” he wrote, “but I did appreciate your perspective of the Mathis album’s quality.”

He knew the music was good; Clive Davis always knew when the music was good.