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Dustin Crum passed for 289 yards and two touchdowns and ran for 147 yards and the clinching score in Frisco, Texas, to help Kent State beat Utah State 51-41 on Friday night in the Frisco Bowl for the Golden Flashes’ first bowl victory.

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Kent State (7-6) closed with four straight wins to finish with a winning record for the first time since 2012.

“I’m just so happy for the university,” said Crum, who also was the Golden Flashes’ leading rusher during the season. “We weren’t supposed to be here, but here we are.”

Matthew Trickett kicked five field goals to set a Kent State game record.

“I love these boys,” said second-year coach Sean Lewis, whose first Golden Flashes team finished 2-10. “Just tremendous resolve by them. It was a testament to their character.”

Crum threw a 78-yard touchdown pass to Isaiah McKoy down the right sideline on Kent State’s third play from scrimmage. Crum flipped a one-yard scoring pass to Antwan Dixon with 9:36 to play to put the Golden Flashes ahead for good, then scored with 1:56 left on a fourth-and-one run from the four-yard line.

Jordan Love passed for 308 yards and three touchdowns, two of them to Siaosi Mariner, in his final game for Utah State (7-6). The junior announced last week that he will bypass his senior season to enter the NFL draft.

Deven Thompkins scored on a 57-yard run and a 17-yard reception for the Aggies.

Bahamas Bowl

Jaret Patterson ran for 173 yards and two touchdowns, Kyle Vantrease passed for a touchdown and ran for another, and Buffalo got the first bowl win in school history, beating Charlotte 31-9 in Nassau, Bahamas.

Patterson had 32 carries for the Bulls (8-5), who were winless in three previous bowl appearances. He finished the year with a slew of school single-season records, including 330 carries, 1,799 yards and 19 rushing touchdowns.

Antonio Nunn caught a 12-yard touchdown pass from Vantrease on the first Buffalo drive to open the scoring, and Vantrease capped a marathon 15-play, 74-yard, 8½-minute drive by plunging in from the one with 3:33 left in the half to push the Bulls’ lead to 14-0.

Patterson scored on a six-yard run midway through the third quarter to make it 24-0, then sealed the win with a 10-yard touchdown rush late to cap a 16-play scoring drive.

Victor Tucker caught a 51-yard catch-and-run touchdown pass from Chris Reynolds late in the third quarter for Charlotte (7-6), which saw its five-game winning streak end. Charlotte was in a bowl game for the first time.

Reynolds completed 15 of 24 passes for 203 yards.

The bowl game was the first of 40 to be played this season.


RAMONA, Calif. — 

Authorities have extradited a 59-year-old man who they say fled to Mexico after killing two members of a family and wounding two other men in a shooting at a 4-year-old’s birthday party more than 32 years ago, San Diego County sheriff’s officials said Friday.

Jose Angel Solorio, 27 at the time of the shooting, is suspected of killing German Aviles, 26, and Ventura Aviles, 21, and wounding Jose Aviles and Carlos Holgin at the party in the rural town of Ramona in 1987, Sheriff’s Homicide Lt. Michael Blevins said.

Solorio fled to Mexico after the shooting and was found by authorities there in March, Blevins said in a statement. Federal law enforcement agents worked with Mexican officials to arrest Solorio and eventually extradite him to the U.S.

On Friday, Solorio was brought to San Diego and turned over to Sheriff’s Department homicide detectives, Blevins said.

Jail records showed he was booked into custody on two counts each of murder and attempted murder. Solorio, who turns 60 on Sunday, was being held without bail.

According to authorities, the shooting happened just before 11 p.m. on June 7, 1987, at an apartment on B and 7th streets in Ramona. During the child’s birthday party, Solorio got into an argument with several people, became upset and left with family members, authorities said.

“A short time later, Solorio came back to the apartment with a gun,” Blevins said in a statement. “He shot three males inside the apartment. They were identified as German Aviles, Ventura Aviles and Carlos Holgin. As he was exiting the apartment, Solorio also shot Jose Aviles.”

German and Ventura Aviles were dead inside the apartment by the time authorities arrived, Blevins said. Medics took Holgin and Jose Aviles to a hospital, where they were treated.

Sheriff’s Department homicide detectives obtained an arrest warrant for Solorio shortly after the shooting but learned he had fled to Mexico, Blevins said, and detectives were unable to locate him even with the help of the FBI and the U.S. Marshals Service.

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A hint about Solorio’s whereabouts came in 2002, when homicide detectives tracked down one of his relatives in Texas, Blevins said. But that family member told authorities she had not had contact with Solorio for about two years and didn’t know his exact location in Mexico.

Authorities did not say what ultimately led them to Solorio 32 years after the shooting. According to Blevins, the FBI and U.S. Marshals Service worked with Mexican law enforcement personnel to detain Solorio, and then worked with the San Diego County district attorney’s office and the Mexican Consulate to extradite him stateside.

Riggins writes for the San Diego Union-Tribune.


So here’s the thing about life: You think you’re going to make all these choices. And sure, you make some. But some also get made for you.

You say, I’m going to be this and I’m not going to be that. And then the lines blur and you end up a mix of this and that.

Jordan Monkarsh is the son of a Jewish butcher, who fled Poland in the 1930s — and who himself was the son of a ritual slaughterer in the old country.

Growing up, Monkarsh, born and raised in L.A., had no plans to assume the meat mantle. He was a reader. He was a dreamer. He loved poetry.

But again, here’s the thing: Even if you have the luxury of choice, you may in a way already be chosen. You may have things inside of you, passed down to you, nudging you along, that for years you don’t even recognize.

Maybe the name Jordan Monkarsh doesn’t ring a bell for you? How about the alter ego he made up, the often brash, sometimes ribald Jody Maroni who built an empire out of Jody Maroni’s Sausage Kingdom, “the home of the haut dog,” the little business he launched by the beach?

On Sunday, I went to say goodbye to Jody Maroni’s, which is closing shop after 40 years. And as Monkarsh offered up free food and the last sausages sizzled on the grill at his first stand, I took in the well-known sausage king’s rich life, strengthened by deep community connections, but also his hunger for new adventures and the push-me, pull-you forces at work in shedding the old and making room for the new.

Monkarsh, who also goes by Jody, still has a USDA sausage factory in Fullerton. He’ll continue to provide sausage to restaurants and institutions.

But it wasn’t that long ago, before the tougher times brought on first by 9/11 and then by the Great Recession, that Jody Maroni’s name was everywhere — not just in L.A.

Long before it was common in the sausage world, Monkarsh put his creativity to use on interesting flavor combinations — chicken molé, duck sausage with orange and cumin, a sausage made to mimic the flavors of the roast chicken and plantains served up at Versailles Cuban restaurants.

You could pick up a Jody Maroni’s sausage on the New Jersey turnpike and at airports across the land, in Las Vegas and Phoenix and Detroit and three terminals at LAX. You could eat them at the Century City mall or at CityWalk.

Jody Maroni’s sausages went to Dodger Stadium. You could watch the Padres in San Diego while eating them. You could buy Jody Maroni’s sausages at Trader Joe’s or Costco and heat them at home.

Or you could do what a lot of people liked best — and what I did Sunday — and take Venice Boulevard all the way to the ocean to eat them at the spot they first appeared, just steps from the sand.

Now the little stand with the family apartment on top has been sold to the owners of one of the carnival-style fried food stands by the beach. Monkarsh moved out this week, leaving behind a whole lot of history.

As Jody Maroni, he grew famous for handing out sausage samples with a side of mildly salacious stand-up. And it was only on the boardwalk where he could get away with just about anything that popped out of his mouth.

“Hey you! Come over here and taste it! Your wife needs to taste my sausage! Don’t you want to go to heaven?”

He did a lot of things for laughs, like posing with sausage links wrapped around his head and neck and shoulders a la Peter O’Toole in full headdress as Lawrence of Arabia.

And at first it was just an act. He was nothing like this bigger-than-life character he‘d dreamed up. And he didn’t really see the connection to his father Max’s suave style of doling out advice to the women planning dinners for their husbands at Max’s Prime Meats, his Studio City butcher shop.

Jody Monkarsh had spent a lot of time in his youth pushing away any thoughts of inheriting that role.

At 13, he hadn’t liked it when his father got him started making sausages for the shop.

Then he headed to Berkeley to study English and comparative literature and found work in fine dining and wandered the world for a bit — and he seemed right on course to veer off course and abandon his marbled family line.

He made his way around the country. He worked at a fish-packing plant in Seward, Alaska. He was a children’s librarian. He got a job in the casino of a Caribbean cruise ship. He spent time in Europe and Mexico.

Back in L.A. in 1979, he found in his travels what at first he saw as a temporary way to make some money. Inspired by the street food he’d seen elsewhere, he got someone to build a makeshift cart with a grill and piled on the Italian sausages he knew how to make and rolls he bought — and set up shop selling sausage sandwiches on the Venice boardwalk, in front of a little two-story Ocean Walk apartment building that his parents recently had bought.

The sausages sold fast. His schtick seemed to work. He kept being hauled into court for the cart, which was illegal. But he kept on selling — until 1984, when the Olympics came to town and he converted the bottom floor of his parents’ building into his first brick-and-mortar sausage stand.

Soon he was living upstairs and cooking downstairs and soaking up the Venice scene, which back then was wild, he said, “quaaludes and roller skates” and people of all races coming together in a way they rarely did in other parts of the city. Those who lived in Venice at the time, he said, included many free thinkers. He could always find a good debate or talk politics or activism or books. So that part of him wasn’t just pushed aside.

When his parents retired and he got married and started a family, he moved out of the beach apartment and they moved in, for about 20 years. Later, after his parents died and his marriage broke up, he moved back, with his four “sausage prince” sons in residence off and on. Upstairs, Max Monkarsh’s well-worn butcher block covered with a glass top served as the dining table.

Over the years, both Monkarsh and his parents got involved in Venice affairs. They sat on local boards and councils. They got to know just about everyone.

And in this free-form corner of the world, the introverted bookish boy and the extroverted sausage salesman melded into one. Which part is more real now? “After 40 years, it’s hard to say,” Monkarsh told me on Sunday, as barefoot drifters and homeless people and longtime friends and neighbors lined up for his food.

Please don’t go, they kept telling him in not so subtle ways. Don’t take away the real food to make room for more deep-fried Twinkies and Oreos.

But Monkarsh says the boardwalk has been going downhill while the rest of Venice grows richer. The two don’t connect. The new rich residents don’t much visit the beach. “I’m too fancy for the boardwalk now and too cheap for Abbot Kinney,” he said, only half-joking.

He had to give up handing out samples some years ago because too many hungry beach denizens were coming back again and again all day. And as for his old customers, the ones he could talk to for hours about anything, they long since “had kids and got successful and moved to the exoburbs,” he told me — to Westlake Village and Agoura Hills.

Anyway, he still has a lot of non-sausage dreams to fulfill. He wants to travel again. He hopes to lie on a beach or two and read. He plans to stop just yelling at his TV and “be like Don Quixote,” going wherever the progressive group Swing Left tells him he has the best shot to help try to defeat President Trump in 2020.

“I feel as if I have been balancing on a rope for years, and now it’s time to start to walk on the Earth again,” he wrote to me in a recent note as I peppered him with questions about his past and his future.

How many people in this city of a certain age can bring up a tangle of sense memories, of Coppertone and salt water and sausage? For Monkarsh and his sons and his shops’ many longtime workers, the history, of course runs much deeper.

On Sunday, two of his sons, Henry, 22, and Sam, 32, kept hugging each other and weeping.

They were saying goodbye to the home upstairs that featured in their earlier memories. They were saying goodbye to the kitchen downstairs, where they had worked as they grew up.

“It’s really hard to talk about my family without talking about Jody Maroni’s, so it feels like we’re sitting shiva,” said Henry, who had flown in from New York.

As for Sam, watching so many Venice people hug his father and thank his father and tell his father how much they would miss him, he suddenly better understood his legacy.

He used to cringe at his father’s loud showmanship, he said. He used to want him to be more like other dads, more organized and ordinary and conventional.

“He’s just not built like that exactly, but he’s filled with this spirit of community and creative vision and he sort of lives in this fantasy world which is so beautiful — but I rarely allow myself to sort of appreciate it,” Sam said.

He clearly was appreciating it Sunday, as the sun set and tears rolled down his cheeks.


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Good morning, and welcome to the Essential California newsletter. It is Saturday, Dec. 21.

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Thank you to those of you who have already written in to tell us about how this year’s California headlines have affected your lives. If you haven’t already, we’d love tohear about your experiences for a year-end feature we’re working on.

Use this form to tell us about how a news event or issue affected you, and we’ll share some of the responses next week.

Here’s a look at the top stories of the last week:

Top stories

A year in homelessness. This was the year that the tents, tarps and broken-down RVs and the sights, sounds and smells of people living on the streets became inescapable, no matter where you lived or worked. This was the year that homelessness truly felt like a crisis, writes assistant Metro editor Erika Smith.

Democrats debate in L.A. The remaining 2020 Democratic presidential candidates gathered at Los Angeles’ Loyola Marymount University on Thursday for the year’s sixth and final presidential debate. Here are a recap and major takeaways from the evening.

Porto’s Bakery & Cafe founder dies. Rosa Porto, the baker and Cuban émigré who founded the popular Porto’s Bakery & Cafe chain in Southern California with her family, has died at 89. The small bakery she began at Sunset and Silver Lake boulevards in 1976 became the quintessential L.A. restaurant — and an incredible story of American success.

Freelance journalists fight AB 5. Organizations representing freelance journalists are mounting a legal challenge to the California law that aims to rein in companies’ use of independent contractors.

Invisible victims. The Golden State Killer’s violence against women has been retold in detail. But little has been said about the male victims who were bound and forced to witness the terror of their loved ones.

Snowpack at new heights. In a boost for California’s water supply, a series of recent storms that blanketed the Sierra Nevada in snow has built the state’s snowpack to its highest December level since 2015.

Santa Anita investigation ends. After a nine-month investigation, a special task force that looked into 30 horse deaths at Santa Anita during this year’s winter/spring meeting issued a 17-page report that “did not find evidence of criminal animal cruelty or unlawful conduct.”

Ocean acidifying. Waters off the California coast are becoming more acidic twice as fast as the global average, stressing marine life and threatening some of the state’s most economically valuable fisheries.

Weeds versus gulls. The gulls that nest on Mono Lake’s islets in the eastern Sierra Nevada are facing a botanical invader they may not be able to overcome: thickets of invasive weeds that have engulfed most of their breeding grounds.

Star Wars hopes. In August, Disney reported a 3% dip in attendance for its domestic theme parks, despite the opening of Galaxy’s Edge earlier in the year. The new Star Wars: Rise of the Resistance ride may fix that.

1. An Oakland transit planner taking photos of bike racks was held at gunpoint by luxury condo security. Curbed San Francisco

2. A Chula Vista doctor spotted a deadly black tar heroin outbreak over lunch. San Diego Union-Tribune

3. These 1920s apartments inspired one of the best noir films ever made. Curbed Los Angeles

4. Scott Timberg, spirited listener, reader and writer, is dead at 50. Los Angeles Times

5. ‘SNL’ has no idea what San Francisco houses actually look like. SF Gate

ICYMI, here are this week’s great reads

Saving the lost art of Hollywood: From the matchless Mary McNamara, the story of how more than 200 painted movie backdrops were saved from the studio dumpster. Los Angeles Times

Public lives and personal histories: On the letters of Elizabeth Hardwick, Robert Lowell and their circle, and the tangled subplots of art and life. New York Review of Books

Ten years ago, Folgers coffee first aired its now-infamous “Coming Home” ad. If that doesn’t ring a bell, let me refresh your memory: It was the brother-sister “you’re my present this year” commercial that looked surprisingly like it was selling … incest. A decade later, GQ has brought us the holiday present we didn’t know we needed — an oral history of how the ad came to be, according to the people who made it. GQ

“The human toll of the 2019 media apocalypse.” More than 3,000 journalists lost their jobs this year. These are some of their stories. GEN

Not a single read, but rather another rabbit hole for your weekend perusal: Music historian and critic Ted Gioia has put together a culture-focused list of his favorite essays and articles of 2019. TedGioia.com

Please let us know what we can do to make this newsletter more useful to you. Send comments, complaints, ideas and unrelated book recommendations to Julia Wick. Follow her on Twitter @Sherlyholmes. (And a giant thanks to the legendary Diya Chacko for all her help on the Saturday edition.)


3.9 quake shakes near Ridgecrest, Calif.

December 21, 2019 | News | No Comments

A magnitude 3.9 earthquake was reported Saturday morning at 12:24 a.m. Pacific time nine miles from Ridgecrest, Calif., according to the U.S. Geological Survey.

The earthquake occurred 27 miles from California City, Calif., 55 miles from Barstow, Calif., 63 miles from Rosamond, Calif. and 64 miles from Tehachapi, Calif..

In the past 10 days, there have been eight earthquakes of magnitude 3.0 or greater centered nearby.

An average of 234 earthquakes with magnitudes between 3.0 and 4.0 occur per year in California and Nevada, according to a recent three year data sample.

The earthquake occurred at a depth of 2.5 miles. Did you feel this earthquake? Consider reporting what you felt to the USGS.

Even if you didn’t feel this small earthquake, you never know when the Big One is going to strike. Ready yourself by following our five-step earthquake preparedness guide and building your own emergency kit.

This story was automatically generated by Quakebot, a computer application that monitors the latest earthquakes detected by the USGS. A Times editor reviewed the post before it was published. If you’re interested in learning more about the system, visit our list of frequently asked questions.


“Queen & Slim” began at a party, celebrating my wife Alana Mayo. She had just been chosen as one of the Hollywood Reporter’s 35 under 35 execs. I was there galavanting and having a good time when writer James Frey walked up to me and introduced himself.

It was kind of funny, because I knew who he was, but I joined in the formalities anyway and introduced myself as well. I think he was aware I was a writer — but at that time “The Chi” hadn’t aired yet (we were still writing the first season) and the “Thanksgiving” episode of “Master of None” was an idea that had not yet entered my mind. I say all this to say: He had no real reason to throw an idea — an idea that would ultimately change the course of my life — into my lap at a rooftop party in Hollywood.

He simply said, “I have an idea for a movie I can’t write.” I responded, “What’s the idea?” And he said, very cavalierly, a black man and a black woman go out on a first date and on their way home they get pulled over by a cop, things escalate quickly and they kill the cop in self-defense and rather than turning themselves in, they decide to get in the car and go.”

I quickly said to him, “You’re right, you can’t write that.” But I knew I could.

He had another title and an outline in his back pocket, but I didn’t want it. I didn’t need it. That sentence was all I needed to go create a black odyssey that would ultimately become a meditation on blackness and what it truly looks like to search for freedom and joy that’s everlasting.

I knew the black community and the police have had a fraught relationship since the beginning of time and if two black people killed a cop, even if it was in self-defense, it would start a media frenzy. Right away, I could see some black people cheering for them while others would be angry — assuming it could start a race war.

Then my wheels started spinning even more — what if the two leads were polar opposites. What if one was modeled after Malcolm X and the other was modeled after Martin Luther King Jr. and by the end of the journey they will have swapped places.

I could see so much possibility on my own that I told James I could take it from here — and he took no issue with that. And thus my writing journey began.

Since this would be a road trip movie, the first thing I did was print out a large map. Then I started figuring out who these characters were. I didn’t want to give too much exposition up top. I wanted the audience to get to know them at the same pace the characters got to know each other.

I also didn’t want a sympathetic cop I had to keep cutting away to. I didn’t want someone that was there to track time, and remind the audience our two leads were in trouble. We already know they’re in trouble. That’s a given. I wanted to force the audience to stay with them. You’re stuck in that car too. I wanted the audience to experience the film rather than just watch it passively.

Because I got my start in comedy, I also didn’t want to suppress my sense of humor. I felt like the film should have comical moments, because we as a community are always searching for light even in the midst of our darkest hour. So my goal was to keep the audience on the edge of their seat while tickling their funny bone every now and then. Which to me feels a lot like life.

Midway through the writing process I quickly learned why “Thelma & Louise” has the Harvey Keitel character. It’s not the worst thing in the world to have someone else to cut away to.

I was starting to feel claustrophobic in that car with Queen and Slim, but after I got past the midpoint, I didn’t mind being stuck with them. I had fallen in love with this mismatched pair, and by the time I made it to the end of the script, it was hard to walk away from them.

I also found that something I thought would be difficult turned out to work quite smoothly. Not naming the characters provided no real challenges during the writing process. In life we rarely say each other’s names in conversation. We aren’t that literal. I also hate writing character names in scripts. Mainly because it feels … well, scripted. And I’m always searching for truth and authenticity on the page.

That’s ultimately what became my mantra while writing this script. It was also my north star any time I got stuck or found myself struggling with trying to figure out where I wanted to take them next or what obstacles I should put in front of them now. Forcing myself to always tell the truth is what truly saved me. Time and time again.

Thinking about black people sitting in theaters watching this movie and feeling seen was also something that always kept me going.

And, ultimately, my deep love and admiration for these two very flawed and extremely human characters never failed to pull me through. And I think it’s because for me Queen and Slim aren’t just characters in a movie, they’re two fictitious people that represent all of us.


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Given that it contains dozens of digitally smoothed-out crotches, a chorus line of “tiny human-faced cockroaches” (to borrow a suitably nightmarish phrase from my colleague Justin Chang) and the sight of Dame Judi Dench as a cat wearing what appears to be a fur coat — this is basically the same thing as a human wearing a skin coat, right? — I can understand why the music of “Cats” has perhaps been overlooked in all the talk about the busy new big-screen adaptation of Andrew Lloyd Webber’s smash Broadway musical.

But “Cats” bears examining as a piece of pop, if only because the show’s signature song, “Memory,” has become an undeniable pop standard — covered countless times by innumerable artists including Barbra Streisand, Barry Manilow, Celine Dion, Susan Boyle and, of course, Nicole Scherzinger of the Pussycat Dolls — in the four decades since this artifact of the early 1980s premiered.

The accumulated weight of all those renditions has had something of a dulling effect on “Memory,” which is performed in the musical by Grizabella, a once-glamorous cat whose fall from grace has her looking back to a time when she “knew what happiness was.” To hear the song’s dreary opening arpeggios now is to reflexively brush off the possibility of encountering something that might move you; the tune, a happily trashy bit of ersatz Puccini, has become a kind of showbiz parody of the emotion it once sought genuinely to embody.

Funny, then, that Jennifer Hudson’s performance of “Memory” is the sole musical number in the new movie that summons real feeling. It’s not that she does anything radical to the song; indeed, it’s that she doesn’t in a film hell-bent on using every trick of technology, choreography and James Corden-ology to get a reaction — any reaction — out of you. Gazing into the camera, her wide face twisted with sorrow, upper lip wet with snot, Hudson simply sings the stuffing out of “Memory” with such intensity that you almost forget she’s wearing a pair of fuzzy cat ears.

With her husky-then-silky vocal tone and her precise navigation of Lloyd Webber’s tricky intervals, Hudson’s performance allows you to re-experience this most over-handled of cultural objects as music — as the pained outpouring of a woman (OK, a cat) for whom even a streetlamp has turned menacing. No wonder director Liesl Tommy hired Hudson to play Aretha Franklin in next year’s “Respect”: In the first trailer for the biopic, playing as we speak before “Cats,” the singer somehow gives the titular soul classic a fresh zing.

Hudson isn’t the only pop star — does that feel like the right thing to call an “American Idol” flameout turned Academy Award winner? — in “Cats,” which largely stays true to Lloyd Webber’s over-the-top orchestra-with-a-guy-on-synth sound. Jason Derulo, clearly jazzed to have been cast in what he takes to be a prestige production, shows up for an aggressively frisky spin through “The Rum Tum Tugger,” while Taylor Swift appears as an actor (in the slinky “Macavity”) and as a songwriter (in the earnest “Beautiful Ghosts,” a new tune sung by the cat named Victoria). They both look to being having a blast, though nothing about their performances made me want to cue up their contributions on the “Cats” soundtrack afterward.

Hudson is doing something different. She’s angling for a spot in the crowded pantheon of remember-ers.


The internet is all about cats, so we are dutifully complying. I’m Carolina A. Miranda, staff writer for the Los Angeles Times, with the new millennium’s essential arts news:

One for the litter box

Distracting us from impeachment proceedings has been the all-around terribleness of Tom Hooper’s film version of Broadway’s now-and-forever show “Cats,” which features an array of creepily anthropomorphized felines.

Begin with Times film critic Justin Chang‘s review, the sort you read aloud to friends over drinks: “For all this talk of digital fur technology, there appears to be no fur on the cats’ actual digits, their unnervingly human fingers and toes. And just to round out this nightmarish anatomy lesson, Hooper often directs his actors to splay their legs and bare their flat, undifferentiated crotches for the camera.”

Want more? The Times rounds up the zingiest “Cats” reviews.

Times theater critic Charles McNulty notes in an equally zingy story about the legacy of Andrew Lloyd Webber‘s smash musical: “Theater people resent ‘Cats’ not just because it made Broadway uncool. … What really infuriates buffs is that ‘Cats’ ushered in an era of grandiose spectacle, the vacuous parade of shows from the 1980s and early ’90s that made it seem as if a musical had to have a helicopter or a crashing chandelier to be worth the rapidly rising ticket price.”

Ordinarily I would illustrate this with a still from Hooper’s movie, but they are awful and I have aesthetic standards to adhere to — so here’s a photo of my pal’s cat Coco wearing antlers instead:

You’re welcome.

The Millennium 100

All of us on the Times’ arts and entertainment staff put our many heads together to compile our 100 favorite pop culture moments from the new millennium … so far. Naturally, it contains Beyoncé and “Star Wars.” But it’s also got plenty of art, theater, music, dance and architecture, with items devoted to “Hamilton,” Disney Hall, Gustavo Dudamel, the Tate Modern, Elaine Stritch, Misty Copeland, the Getty’s Pacific Standard Time series, Michael Maltzan‘s humane housing for the homeless. And much, much more…

Plus: I talk about some of the art world’s hot-button issues for 2019 on KCRW’s Press Play.

In the galleries

An “engrossing” midcareer retrospective of New York-based painter Julie Mehretu recently went on view at the Los Angeles County Museum of Art. “In her best paintings … Mehretu walks a tightrope,” Times art critic Christopher Knight writes. “On one side is consolidation, on the other is disintegration. Collapse is underway, coalescence strains. Schism and synthesis spar.”

Onstage

When Susan Lieu was 11 years old, her mother died as a result of a plastic surgery procedure. That is the topic the performer explores in her one-woman show, “140 LBS: How Beauty Killed My Mother,” which will be on view in L.A. and O.C. in the coming days. It’s a production she created and marketed by herself while pregnant. “I don’t have time to see if an artistic director will program me in one or two years from now,” she tells The Times’ Ashley Lee.

And because she has nerves of steel, Lee recently attended seven — seven — SoCal productions of “A Christmas Carol.” This included a Shakespearean version, an updated comedic version with a Lime scooter, a one-man version that had a single actor toggling among the roles of narrator, Scrooge and Bob Cratchit, and one with a spine-chilling Scrooge that warmed the cockles of our reporter’s heart with its story of redemption.

F. Kathleen Foley reviews Neil McGowan’s play “Disposable Necessities” at Rogue Machine. The story is about a future in which the wealthy can download their personalities into new bodies. Writes Foley: “Director Guillermo Cienfuegos and a lively cast tear into their material with brio.”

Classical notes

Times classical critic Mark Swed attended Wild Up’s “darkness sounding” series in Joshua Tree — one of 11 “mindful music” concerts for the darkest days of the year. “The sad time of year,” said director Christopher Rountree, seemed ripe for “making music in the dark about the dark, embracing ritual, nature, space, listening and simply being together.”

Catching up

L.A. photographer George Rodriguez has photographed the East L.A. blowouts and rising rap acts for music magazines. Last year, when I covered the publication of his book “Double Vision: The Photography of George Rodriguez,” I noted that his studio contained a painted backdrop from an early-’80s shoot with N.W.A that had been signed by Dr. Dre and Eazy-E. (Musical history!)

Here’s a snap I got of him standing in front of it:

Last weekend, I went to see Rodriguez’s solo show at the Vincent Price Art Museum, where the backdrop is currently displayed. And while I was there, I met the East L.A. artist who made it: Larry Ruedas Jr., who in the ’80s was known by his graffiti name, LARIE.

Ruedas saw media coverage of Rodriguez’s book last year and reestablished contact with the photographer — turning out for his book signing at VPAM last Saturday. He says he is amazed that his paper backdrop has survived over the decades.

“I thought this would have been tossed,” says the artist. “It’s a shock to see my artwork still there!”

The backdrop, along with a selection of Rodriguez’s photos, will remain on view at VPAM through Feb. 29. (Note: The museum is closed from Dec. 24 to Jan. 4.)

More out of East L.A.: Lowrider, the car magazine that was also about Chicano identity, will cease to print but may still appear occasionally in digital form. Times reporter Dorany Pineda looks back at the history of the magazine, which Cal State Northridge professor Denise Sandoval said represented “the codes of the Boulevard: … Pride, respect, corazón [heart], family, brotherhood.”

Passages

Scott Timberg, a former Times reporter who authored the book “Culture Crash: The Killing of the Creative Class,” has died at the age of 50. As a freelancer he regularly contributed to The Times’ arts section. His stories, and his incisive point of view, will be sorely missed.

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Ready for the weekend

Matt Cooper has the list of everything doing the week ahead in dance, theater, museums and classical music in SoCal. He also rounds up the nine best things to do in L.A. in the coming week, including a performance of Handel’s Messiah at Disney Hall.

And I list all the visual arts happenings in my weekly Datebook, which includes an intriguing new show of photography at the Getty Museum.

In other news…

— What choreographer Mark Morris likes to read.
Alissa Walker on how our cities failed us this decade.
Zoë Madonna does a year-ender on how #MeToo has played out in the world of classical music.
— South Coast Repertory has received a $5 million gift from philanthropists Julianne and George Argyros.
— And Riverside’s Cheech Marin Center for Chicano Art received a $750,000 gift, pushing its fundraising total to nearly $14 million.
— The Autry Museum has hired two ambitious new curators: Joe D. Horse Capture and Tyree Boyd-Pates.
Frieze Projects curators Rita Gonzalez and Pilar Tompkins Rivas will explore truth and lies in Hollywood for their installation at the L.A. Art Fair in February.
— Employees at the Instituto Nacional de Bellas Artes y Literatura (INBAL), the Mexican cultural organization responsible for numerous Mexican museums, allege severe wage delays.
— Need a podcast to get you through a holiday drive? The Getty’s “Recording Artists,” hosted by curator Helen Molesworth, focuses on the story of six women making art during the feminist and civil rights movements, including Betye Saar, Eva Hesse and Lee Krasner.
— Critic Peter Schjeldahl’s stirring tribute to the messy art of living is a must-read.

And last but not least…

Marinate in the director’s cut of Solange Knowles’ “When I Get Home,” which includes artful elements such as shots of Houston’s Rothko Chapel, art by Jacolby Satterwhite and paintings by Robert Pruitt.


Looking for a last-minute holiday gift? Alaska Airlines just launched a 2-for-1 airfare sale that’s pretty irresistible. Buy a ticket on certain routes and book a second ticket for (almost) free. The sale starts at 7 a.m. and lasts until 11:59 p.m. Pacific time on Dec. 20.

The sale applies to Los Angeles flights to Maui and Honolulu in Hawaii; Los Angeles to Boston and Baltimore; and intra-California flights, such as L.A. to San Francisco. The sale is good for other West Coast departure cities, such as San Francisco, San Jose, Seattle and Portland. The travel window is from Jan. 7 through Feb. 12.

To buy tickets, go to the airline’s sale page, called Let’s BOGO (which stands for “buy one, get one free”). Use the promo code “LETSBOGO” when buying a ticket, and pay only taxes and fees for the second ticket. You’ll need to have the second person’s name to reserve. Rules apply, including a limitation of one discount code per reservation.

Also on Dec. 20, passengers wearing a holiday sweater — it doesn’t have to be ugly — will receive priority boarding on Alaska and Horizon Air flights.

Info: Alaska Airlines’ Let’s BOGO sale


I could hardly believe it when I read the headline that said “SuperShuttle is Going Out of Business. Its last rides are Dec. 31,” by Catharine Hamm, Mary Forgione and Priscella Vega Dec. 13). The article underlines my morose feelings about Friday the 13th as well as the end of a service that I have used countless times. I relied on the blue vans with the yellow writing for many journeys, some joyous, others not so much.

I looked upon the drivers as well as the people sharing my ride as brief encounters with people I might never have met, and the transportation became part of my travel ritual.

There is a saying that growing old is not for the faint of heart; the demise of my preferred rideshare service seems to underline the fact that beacons I use to mark rites of passage are growing smaller and that I am, indeed, growing older. Alas.

Ruth Kramer Ziony
Los Feliz

::
I just wanted to write to let those making decisions know my displeasure about the ending of service of SuperShuttle. I love to travel and have taken the SuperShuttle on many occasions from downtown to LAX. This decision, I’m sure, was financially based, but I would hope that there is some chance that we will get another service equal to Super Shuttle.

Evelyn Finn
Cerritos

::

I travel often and never used SuperShuttle. It isn’t because they’re not a good company or reliable, but using Uber or Lyft is as simple as pushing a button on your phone.

Also, technology has taken over completely, causing companies such as SuperShuttle or taxi companies to struggle or fail.

SuperShuttle has been around since 1983, but now there are other options we can choose from to get from one destination to another.

Brittani Ables
Inglewood

OK

But there are other ways to get to LAX

In re: “Let’s Find Your Way to LAX,” On the Spot by Catharine Hamm, Dec. 15: There’s one other way to get to LAX that can be surprisingly affordable for some people: a one-way car rental.

Some car companies will let you have one for about $40 going and $60 returning. The nearby Avis location I used has closed, and other convenient companies in my area have much higher prices, but it’s worth checking online to see if there’s something near you.

The obvious downside with four heavy bags that letter writer Jim Ragsdale mentioned is that you must get them on and off the rental shuttle, but the driver will help with that.

Geoff Kuenning
Claremont

::

We live in Oceanside, and we rent a car from a Hertz office five minutes from our home. Although the price has gone up from about $50 to $80 over the years, it’s still easy. We drop it at the Hertz lot at LAX and take the Hertz bus to the terminal.

Upon our return, we take the Hertz bus back to the Hertz lot, rent another car (more expensive —about $125 — because it is considered “on the airport”) and drive it home. We always allow tons of time before the flight so we don’t have to worry about returning the car and getting to the airport.

We have also spent the night at a hotel near the airport if we have an early flight, so we can take the hotel’s shuttle to the airport.

Art and Deborah Cravets
Oceanside

::
When our friends travel to Kauai, they stay one night at an airport hotel and leave their car parked there. They love the convenience and the price.

Kathy Schwartz
North Hollywood

::
Regarding getting from Duarte to LAX, the Metro Gold line can take you to Union Station, where you can take the FlyAway Bus. There is a station in Duarte. I have done that myself, not with four large bags but with one large bag and a carry-on.

Frank Alvarado
Azusa

FlyAway is an excellent option for the letter writer, although with four bags it’s a bit of a challenge. He could also have a family member drop him off at Union Station to save toting four bags on the train while letting his family/friends avoid the nightmare of navigating the LAX terminals loop.

The FlyAway buses easily accommodate large bags underneath the bus and drop you right at the terminal. Drivers are usually helpful with loading and unloading your bags.

FlyAway is super convenient if you’re going to Terminals 1-3. I use it all the time, and I live in downtown L.A., take the Red/Purple Line to Union Station and voila, I’m there. It rarely takes me more than 45 minutes to get from Union Station to LAX, and it’s often faster. That said, I always allow for an hour travel time.

Adam Light
Los Angeles

::

If you live in Duarte, here’s the best way to avoid the trouble of getting to LAX: Fly out of Ontario,” Catharine Hamm wrote in the article about getting to LAX.

I laughed out loud after reading this. What a great way to start the day, with a little humor.

I take the Green Line from Norwalk with one bag. As a senior, it’s 75 cents (only 35 cents during nonpeak hours), which is a bargain.

Patrick Anderson
Norwalk

Monterey escape brings back memories

Thank you for Mike Morris’ weekend escape to Monterey (“Fresh Prospects on the Central Coast,” Dec. 8). The photo reminded me of the beautiful movie “A Summer Place” I saw when I was a very impressionable 15-year-old. I loved the memories the photo brought me.

Rachel Perumean
Montebello