Ali

Some people don’t need an introduction.

Joe Torre, for one.

You know him. Baseball icon. Hall of Famer. The only big leaguer with 2,000 hits as a player and 2,000 wins as a manager, he steered the New York Yankees to four World Series championships — and the Dodgers to consecutive National League West crowns and NLCS appearances in 2008 and 2009.

So you’re well-versed on Torre’s baseball bonafides, but you might not be aware of the most meaningful part of his legacy: He’s spent the past 24 years helping people who actually would need to be introduced to him.

Kids who are too young to know Torre the player, manager, color commentator — but who can, unfortunately, relate with what he went through when he was their age. Kids who, like him, are growing up afraid and anxious because of domestic violence at home, and who need what Torre didn’t have — somewhere safe to go to for help.

Since 2002, Torre and his wife, Ali, have been behind the expanding the Joe Torre Safe at Home Foundation. Across the nation, they’ve set up safe spaces in schools, specialized classrooms that feel more like living rooms and that are manned by professional counselors trained in domestic violence intervention.

San Francisco Giants assistant manager Ron Washington hugs Joe Torre before a game at Dodger Stadium on May 14.

(Gina Ferazzi/Los Angeles Times)

They’re at schools in New York, Cincinnati, Tahiti and in L.A., at Bellflower Middle/High School and John Adams Middle School, John H. Glenn High and McKinley Elementary School, Palisades Charter High, Santa Monica High, Waite Middle School and Washington Preparatory High.

And they’re open to all, whether you’re a kid experiencing violence or you want to be able to help peers who are.

This past year, the foundation says it reached more than 28,000 students. And since it began, more than 425,000 young people, families, schools, and communities.

These Safe at Home spaces are all named “Margaret’s Place,” in honor of Joe’s mom, who was for years the victim of his father’s violent ire.

“It’s a tough subject to talk about,” Joe Torre said. “But you can’t run away from it.”

He did, though. He’s 85 now, but until he was 54, Torre didn’t reveal that baseball had been his refuge when he was growing up. He didn’t tell anyone that when he was a kid, if he saw his dad’s car in front of his house, Joe would go to a friend’s house and wait until he left for his job as a New York police detective. Joe didn’t share memories like he would later, of seeing his big sister, armed with a knife, standing between their mother and their father, who was going for his pistol.

St. Louis Cardinals third baseman Joe Torre poses swinging a bat prior to a game in 1971.

(Dave Pickoff / Associated Press)

He didn’t recognize what those traumatic experiences he’d tried to bury did to him, not until he started to talk about them.

“I thought I was born with this shyness and this nervousness,” Torre said before a Dodgers game in May, when the club introduced him and Ali and players and coaches wore T-shirts during batting practice that read: “Everyone deserves to be safe at home.”

“During my playing career,” Torre continued, “if we lost a game and I didn’t get any hits, I’d beat myself up. I was fortunate, I had a good career, but there was always something missing. I really probably could have enjoyed it a lot more than I did.”

That didn’t change until 1995, when he started talking about the domestic violence he experienced. He was surprised, he said, to find himself sharing his story, opening up for the first time at a “Life Success” seminar in Cincinnati, Ali’s hometown.

“Ali, she says, ‘You want to go to this Life Success symposium with me?’” Joe said. “And she’s eight months pregnant with our daughter and I’m not about to say no to anything she asks me to go. So we go in and they separate you, and they put you in groups of six strangers — and I’d just been named manager of the Yankees, so I’m very self-conscious.

“But after a day or so, you’re in it, you know? And then we went home and I called my sisters and asked them questions. Because they always tried to protect me, so I had to drag it out of them … ‘Did dad hit mom?’

“The biggest thing for me was knowing that my dad bringing fear down on the home was what caused my feelings that I was embarrassed to have. Once I went through that, I was able to go deeper.”

Yankees manager Joe Torre bumps fists with catcher Jorge Posada after a win in April 2004.

(Brian Kersey / Associated Press)

Speaking about what was previously unspeakable helped him cope with his trauma. He said it made him a more empathetic manager and a more confident man. It also made him want to speak out publicly and to encourage others to do the same, to break the cycle of silence.

So they’re getting the word out at — where else? — ballparks. There was the stop at Dodger Stadium in May, and before that, in 2025, seven major league teams had activations at games, as did 63 minor league clubs who hosted a “Safe At Home Awareness Game.”

Because often we do need an introduction, to connect kids with people who can keep them safe, who can assure them they’re not the only ones in their position.

“He’s talked about this many times: If he had access to a program like Margaret’s Place, he wouldn’t have felt like he had to carry this burden alone,” said Rose Robles, the foundation’s senior director of programs. “That was one thing he’s really stressed, he felt he was the only one that was going through this.

“And he would have had some options, some choices for how to respond to what he was experiencing and how to understand it. One thing that we say is that violence thrives in silence, and that is basically what he was experiencing.”

Forty-four percent of the kids Margaret’s Place counselors helped in 2024-25 were dealing with some form of violence at home. Twenty-seven percent have experienced some form of relationship or dating violence. They also help kids who’ve been exposed to community violence or other traumatic events, or who are grieving a traumatic loss.

Dodgers manager Joe Torre pauses for a moment while answering questions in August 2010.

(Jae C. Hong / Associated Press)

At Bellflower Middle and High School, Principal Jessica Cummings said a Teen Dating Violence Awareness Week and parent workshops focused on fostering healthy relationships increased awareness on her campus.

“We are grateful,” she wrote in an email, “for this partnership and the positive impact it has had.”

Of the students surveyed after receiving services, Safe at Home indicated that 99% reported feeling safer and 93% said they used the tools they learned in counseling.

Torre has absorbed decades of anecdotal feedback too — the knowing nods he sees in the crowd when he’s talked to groups of kids about this, the cameraman who slipped him $20 to put toward the foundation, the interviewer who shared his account of having grown up in a violent household.

“Anyone can become a victim,” Ali Torre said, “Our goal is to intervene and prevent. There are little boys we can have conversations with: ‘You don’t have to repeat the cycle.’ To little girls, ‘There’s an option for you…’

“And Joe has opened a lot of doors for us.”

When you think of Joe Torre, it’s as a former Dodgers skipper. A nine-time All-Star and the 1971 National League Most Valuable Player.

You should also think of him as a champion of children who now know that they aren’t alone, and that they have people who will go to bat for them.

US President Donald Trump welcomed Iraqi Prime Minister Ali al-Zaidi to the White House. Trump praised the ‘tremendous chemistry’ between him and the PM and said the countries will be announcing a new ‘massive’ oil partnership.

SACHA Baron Cohen has brought back the iconic Ali G character at Wimbledon ahead of a new film.

Sacha, 54, first played faux-streetwise poseur from Staines in 1998 on The 11 O’Clock Show before landing his own series, Da Ali G Show.

Sacha last played Ali G in 2014 but at the men’s singles final at Wimbledon on Sunday, the star resurrected the character.

Sitting in Centre Court, Ali wore a Wimbledon-coloured tracksuit with the motif ‘Official Ganja Dealer’ on the back, hat, heavy gold chain and glasses, Sacha sported his alter ego‘s facial hair, and attitude.

Ali also joined Instagram to share videos from the tournament and said: “I iz BACK!

“And if u iz at dis borin wimbledore final lookin 2 get grand slammed, I iz here wif de hookup.  dm me, especially if u iz fit.”

ISLA BE BACK

Isla Fisher cosies up with footballer as she dates again after Sacha split

SMILER FISHER

Isla Fisher, 50, wows in red dress following split from Sacha Baron Cohen

He also shared a shot of a DVD of his TV series and wrote: “dm me if u want to buy one of these DVD box sets.

“Me iz got like 10,000 of dem. Dey iz very rare. Free pickup in the northwest surrey area.”

Sacha’s appearance at Wimbledon as Ali G comes as he prepares a new film for his comic creation.

While few details are known at the moment, in July last year, The Sun exclusively revealed pictures of Sacha in character as Ali as he filmed in a Cotswolds zoo park.

A passer-by who saw the filming in ­Chipping Norton, said: “He was with a whole film crew and was in full character.

“He seemed very comfortable in the role. I was amazed, I thought to myself ‘that’s Ali G’.

“He clearly updated Ali G’s ­wardrobe. He’s replaced his tracksuit and skull cap, but he still had gold jewellery and tinted shades.”

As well as Da Ali G Show, which ran for three series until 2004, he also had a film, Ali G Indahouse, in 2002.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Two of my favorite movies of the year so far are opening in Los Angeles today and they both benefit from being seen with a proper audience. You will find yourself surprised by what you are laughing at, curious about what other people are laughing at and then feel the air in the room collectively shift as both films take unexpected turns toward more genuine emotional moments.

The third feature directed by Olivia Wilde, “The Invite” is a biting look at modern relationships. Wilde stars as one half of a struggling couple, unhappily married to a character played by Seth Rogen. She invites over a couple from the apartment upstairs, played by Penélope Cruz and Edward Norton, and soon all sorts of feelings start flying around.

I reviewed for the paper, noting, “It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.”

Wilde will be making appearances around L.A. over the weekend, including at the Vista, where the movie is playing in 35mm.

Also opening this weekend is “Maddie’s Secret,” the debut feature as writer-director from comedian and actor John Early, who also stars as the title character, an aspiring L.A. food influencer battling bulimia. It is a truly astonishing performance, one that walks a difficult tightrope between sincerity and parody. Early will appear for Q&As around town this weekend.

I spoke to Early about the film when it played as part of the Los Angeles Festival of Movies about its unusual tone — somehow earnest, tender and very funny all at once. Joshua Rothkopf reviewed the film, which he calls the indie arrival of the year, comparing it to movies by John Waters, Todd Haynes and Douglas Sirk.

Jack meets the maestro

Jack Nicholson in the 1975 movie “The Passenger.”

(Sony Pictures Classics)

One movie I feel obligated to note whenever it plays it Michelangelo Antonioni’s “The Passenger.” Jack Nicholson stars as a disaffected journalist who assumes the identity of a dead man in an attempt to start over, only to find that his new life is even more complicated than his own. It is a powerful examination of middle-aged malaise that has Antonioni’s trademark mystery but, thanks to Nicholson, also has a directness that makes it accessible to wider audiences.

Nicholson made the film in between “Chinatown” and “One Flew Over the Cuckoo’s Nest,” at the height of his fame in the 1970s, a time when going to Europe and Africa to shoot a movie with an esoteric art-house filmmaker was a huge risk. He would personally purchase the rights to the film in the early 1980s and essentially treated it like owning an art object, very rarely allowing it to be shown publicly. It reentered circulation in 2005 with a rerelease but still has a certain air of rarity around it. The film will be showing at the New Beverly in 35mm on Saturday and Sunday.

Nicholson sat for an extended interview with The Times’ Patrick Goldstein around that 2005 reissue of the film, calling the production “the most vivid filmmaking adventure I’ve ever had.” He described his relationship to Antonioni by saying, “He’s been like a father figure to me. I worked with him because I wanted to be a film director and I thought I could learn from a master. He’s one of the few people I know that I ever really listened to.”

When the Italian filmmaker died in 2007, Nicholson got on the phone with us to say, “I don’t know how to put this: He’s just a maestro, and everybody loved him. … He was a man of joy and impeccable taste. His whole life was dedicated to modestly being a brilliant artist.”

Truffaut’s humanist warmth

Delphine Seyrig and Jean-Pierre Léaud in the movie “Stolen Kisses.”

(Janus Films)

Richard Linklater’s “Nouvelle Vague” last year didn’t exactly start a renewed wave of interest in the French New Wave of the 1960s, but then again, those movies never really went away. They’ve been inspirational to generations of film fans for more than 60 years now.

But one French director who has perhaps fallen out of favor slightly is François Truffaut. Long seen as one of the quintessential New Wave filmmakers, he has become taken for granted a little of late. Which is why it is exciting to see Brain Dead Studios showing his 1968 film “Stolen Kisses” in 35mm on Sunday.

The third in the series of films Truffaut returned to throughout his career, including his 1959 breakthrough “The 400 Blows,” the film again stars Jean-Pierre Léaud as Antoine Doinel, Truffaut’s alter ego through the stages of his life. Discharged from the army, Antoine drifts through a series of jobs. His real concern is juggling his busy love life, making the film something of a male-centered rom-com while capturing Truffaut’s warm, humanist worldview.

Rohmer’s caustic cynicism

Jean-Claude Brialy in the 1970 movie “Claire’s Knee.”

(Janus Films)

Conversely, a filmmaker of the French New Wave who has seen his stock rise during the last few years is Eric Rohmer, championed by Noah Baumbach among others. His more caustic view of the world may resonate better with more cynical modern audiences.

The American Cinematheque will begin showing Rohmer’s cycle of “Six Moral Tales” at the Los Feliz Theatre this weekend with a 35mm screening of “My Night at Maud’s” and continuing with other screenings through the end of July. Other films in the series include the sultry, summertime tale “La Collectionneuse,” the ethical dilemma of “Claire’s Knee” and the tale of infidelity “Love in the Afternoon.”

Writing about “Claire’s Knee” in 1971, Charles Champlin noted, “What redeems Rohmer’s films from a defeating sameness is the quite extraordinary charm, believability and complexity of his characters and his meticulous attention to detail and his refusal to go for gross events at the expense of the subtle shadings of human relationships.”

Honestly, if a trip to France isn’t happening for you this summer, this series makes for a not-bad substitute.

Reconsidering ’90s comedy

An image from the 2025 documentary “We Are Pat.”

(The Film Collaborative)

Fresh off its world premiere at the recent Tribeca Film Festival, Ro Haber’s documentary “We Are Pat” will screen at Vidiots on Sunday. Haber will be there along with comedians Julia Sweeney and Harper Steele and, for good measure, Alan Cumming.

“We Are Pat” examines the afterlife of Sweeney’s character from “Saturday Night Live,” a confusingly genderless person who no one can ever quite figure out how to engage with. The way Pat has been picked up by a new generation of genderfluid comedians shows how influence and inspiration can come from the unlikeliest of places, and also how comedic ideas can transform over time.

Ali in Africa

Muhammad Ali fights George Foreman in the 1996 documentary “When We Were Kings.”

(Gramercy Pictures)

Released in 1996, “When We Were Kings” depicts the 1974 boxing match in Zaire between Muhammad Ali and George Foreman known as “The Rumble in the Jungle.” Director Leon Gast was unable to complete the film at the time, so the footage languished for years until he got an assist from filmmaker Taylor Hackford in shooting contemporary interviews with the likes of Norman Mailer, George Plimpton and Spike Lee. “When We Were Kings” would go on to win the Academy Award for documentary feature. It will be screening at Vidiots on Saturday.

The core of the movie is watching the thrilling, inspiring footage of Ali training and interacting with the locals. As Kenneth Turan wrote in his original review, “Because a classic heavyweight championship fight, especially with these protagonists, epitomizes the drama inherent in sport, ‘When We Were Kings’ always compels our interest.”

New this week

• Amy Nicholson wasn’t crazy about “Supergirl,” but reserves praise for star Milly Alcock as the “one reason to see the film.”
• Johnny Knoxville and friends are back for another round of stunts and pranks in “Jackass: Best and Last.” Age has finally caught up with them, Amy Nicholson laments.
• It seems a little odd that a movie starring Angelina Jolie, “Couture,” is just sort of sneaking into theaters, but that’s movie business in 2026. We spoke to Jolie at last year’s Toronto International Film Festival about the film.

Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”

As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.

He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”

Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”

At its best, he said, theater helps us see ourselves in a stranger’s story.

“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”

Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.

“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”

He wrapped up this speech with a plea for love and empathy.

“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”

Muhammad Ali’s legacy extends far beyond his world titles and Olympic gold, his widow has said, as his hometown prepares to mark 10 years since the boxing icon’s death with a global “Day of Compassion”.

Ali, who died on June 3, 2016, after a long battle with Parkinson’s disease, is being honored this week at the Muhammad Ali Center in Louisville, which is encouraging people worldwide to mark Wednesday’s anniversary with acts of service and care.

“He transcended boxing into every space you can imagine,” Lonnie Ali said in an interview at the centre. “Muhammad lived by this mantra: Service to others is the rent we pay for our room here on Earth.

“He showed up every day with kindness and empathy in his heart for people who are in need.”

Known in his hometown as the “Louisville Lip”, Ali rose from a modest background to become a three-time heavyweight champion and 1960 Olympic gold medallist.

As his fame grew in the 1960s, he became an outspoken voice on civil rights and the Vietnam War, cementing his status as one of the most influential athletes of all time.

The Ali Center, where Lonnie Ali serves as lifetime director, hopes the “Day of Compassion” will grow into an annual event highlighting volunteerism and service.

“The day will focus on one of the core values that made up Muhammad Ali,” she said, warning that the United States is “losing touch with our humanity and with each other”.

“We’re becoming increasingly polarised and separated, and sort of retreating to people who think like us, look like us – and not really reaching out,” she added.

Lonnie Ali also challenged political leaders to “lead with compassion”, criticising moves that have weakened the landmark 1965 Voting Rights Act. “We should always be thinking about how we can uplift a community, not how we can make it harder for them.

“You can’t have equal representation when you’re denying people voting rights,” she said.

She said she still draws hope from how Louisville came together during a weeklong celebration of Ali’s life in 2016, when thousands lined the streets as his funeral procession passed his childhood home and millions watched the service online.

A decade later, Ali’s face now appears on a US postage stamp – another sign, she said, that his message of courage, faith, and service still resonates “from kings and princes to ordinary fans who never met him, but felt they knew his heart”.

“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.

The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.

Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.

The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.

Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.

What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.

The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.

The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.

There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.

Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.

But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.

Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.

But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.

When Compton Unified School Board President Micah Ali checked his mailbox last week, he was in for a shock.

The school district has been making headlines as a state and national leader in student performance gains, and it has been upgrading and replacing its aging campuses to help advance that growth. Next week’s ballot includes a $360-million bond measure called CPT, which would keep that momentum going and replace badly dated Dominguez High School.

So when Ali opened a slate mailer titled “Congresswoman Maxine Waters’ Sample Ballot and Voter Recommendations,” he couldn’t believe her advice on Measure CPT.

Vote “no.”

Given Waters’ stature as a congressional representative for 35 years, Ali said, her slate mailers can swing outcomes.

“Yes, it does carry weight,” Ali said, and the thumbs-down recommendation “can literally cripple our ability to pass this bond.”

Ali was doubly surprised because the mailers went out to voters just a few weeks after Waters attended an unveiling ceremony for the new Compton High School campus. Compton High alums and hip-hop heavyweights Kendrick Lamar and Dr. Dre joined the celebration, and the latter was honored for his $10-million donation to the new performing arts center.

Lunch tables and a temporary cafeteria are set up outdoors at Dominguez High School because of a fire three years ago.

(Eric Thayer / Los Angeles Times)

A second district high school, Centennial, is being replaced with a modern campus, and district officials are hoping Measure CPT passes so Dominguez students aren’t left behind, but also because the district’s other schools would get multiple upgrades and repairs, from infrastructure to classrooms to athletic fields.

I met with Ali on Wednesday afternoon at Dominguez, along with Principal Caleb Oliver. The school turned 70 this year, and it shows. The grounds are scruffy, wiring and plumbing are outdated, the gymnasium air conditioning hasn’t worked in years. To walk the campus is to step back in time — to the Eisenhower administration.

While we were talking, Oliver called out to a senior named Angelina Ramirez, referring to her as a superstar student. I asked Angelina what kind of upgrades the campus could use.

Dominguez High School Principal Caleb Oliver.

(Eric Thayer / Los Angeles Times)

“Well, I like to use the cafeteria as an example,” she said, pointing to where it used to be.

What happened to it?

“It burned down,” she said. An electrical problem was the suspected cause, her principal added.

That was more than three years ago, and since 2023, the cafeteria has been an outdoor plaza.

“I feel like that’s affected students a lot,” Angelina said.

The big question, of course, is why Waters’ campaign committee — Citizens for Waters — recommended a no vote.

I’d like to tell you why it is that a rapper has written a $10-million check in support of Compton’s students while a congresswoman has told them to go fly a kite. But I’ve asked by phone, text and email, and I still don’t have an answer.

After contacting Citizens for Waters, which referred me to the congresswoman, I called her office and emailed her press office, which sent me this response at 7:43 p.m. Thursday:

“Per US House Ethics rules, we are unable to respond to your request.”

I don’t know what rules those are, but the rulebook needs some rewriting if a congresswoman can’t answer a simple question about why her campaign mailer recommends a no vote on a school bond measure.

“We have no idea, and we’re baffled,” Ali said. “Who would oppose the construction of a new school in a community like Compton?”

In the working-class community, the student population is roughly 84% Latino and 14% Black.

I suggested that Ali consider having students march over to Waters’ district office and ask for an explanation.

“We’d rather have these children’s butts in seats and learning,” Ali said, adding that “we need … to continue driving up these test scores.”

Compton school board candidate Tana McCoy talks to school board President Micah Ali about the mailer.

(Eric Thayer / Los Angeles Times)

It’s not as if there is no reasonable opposition to Measure CPT. These kinds of bonds cost taxpayers real money over the course of many years, and CPT would add about $60 per $100,000 of assessed property to annual tax bills.

That would hit working folks and retirees with an added tax burden of between a few hundred and several hundred dollars a year. And taxpayers have been paying off two previous school improvement bond issues, one passed in 2015 and one in 2022.

In addition to the financial burden, according to district parent Anthonia Limon, who wrote the statement against CPT for the L.A. County sample ballot, safety issues have undermined community trust in district leadership.

“Infrastructure alone does not create safe schools,” Limon wrote.

If Waters has similar concerns, that would be one thing. But to my knowledge, and to Ali’s, there has been no public explanation for recommending a no vote. And when you read the fine print on the slate mailer, which advises voters to “take Congresswoman Maxine Waters’ recommendations with you to vote,” it only raises more questions.

“This document was prepared by Citizens for Waters, not an official party organization. Appearance in this mailer does not necessarily imply endorsement of others appearing in this mailer nor does it imply endorsement of, or opposition to, any issues set forth in this mailer,” it says.

Huh?

Are they endorsements or aren’t they?

The Times reported in 2004 that the rep’s daughter, Karen Waters, “has charged candidates for spots on her mother’s ‘slate mailer,’ a sample ballot that many voters in South Los Angeles use to guide their choices.” Last year, the Waters campaign paid a $68,000 fine for campaign finance law violations following a Federal Election Commission investigation that involved Citizens for Waters.

Rep. Maxine Waters’ slate mailer.

(Eric Thayer / Los Angeles Times)

Also in the fine print on the current mailer:

“Appearance is paid for and authorized by each candidate and ballot measure which is designated by” an asterisk.

So are these endorsements or paid advertisements? There’s an asterisk on nearly every endorsement in the mailer, from city council to governor to judgeships to Measure CPT. The way I read this is that various parties paid for endorsements, but the mailer does not reveal who paid, or how much they ponied up. Such mailers, by the way, are not uncommon in California, according to election law experts.

“I think this is misleading for voters,” said Erwin Chemerinsky, dean of the UC Berkeley law school. Although he thinks the endorsements are a form of protected free speech, he said this “reflects a very deep problem in our elections with dark money, when we don’t know where the money is coming from.”

On Thursday, I visited Tana McCoy, a Compton High grad and retired city employee who is running for Compton Unified school board. She showed me the slate mailer delivered to her home, but said she’s going to vote yes on CPT despite Waters’ recommendation.

“Children need to feel good about their environment, because that’s all part of their mental health,” McCoy said.

At Dominguez, where graduates have a 96% college acceptance rate, according to district officials, junior Zaiden Ross gave me a tour that included a stop at a gymnasium fountain that he said hasn’t worked in years. Some fountains are dirty, he added, “and some of the pipes on campus produce water that has, like, extremely high amounts of lead and magnesium.”

Student Zaiden Ross demonstrates a nonworking sink in a bathroom on the campus of Dominguez High School in Compton.

(Eric Thayer / Los Angeles Times)

Zaiden took me to a classroom to show me water samples he’s still testing. Then we visited the robotics classroom, where he turned on a faucet, and the flow was closer to the color of apple juice than water. The air conditioner was rattling, and teacher G.C. Esiobu, who runs the engineering and robotics club, said there had been an “emergency” fix for a busted system. Zaiden gave me a quick rundown of dated computers and other equipment students use to design drones and robots.

And yet despite all that, a display case was filled with trophies. At competitive meets, Esiobu said, “we have been winning with little or nothing.” With equipment upgrades, she added, “just imagine the level we will go.”

There’s still time, before Tuesday’s election, for Waters to visit Dominguez High and maybe get a tour from Zaiden and Esiobu.

If she does, she might rethink that endorsement.

steve.lopez@latimes.com

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