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In 2022, Kyra Davis Lurie heard a story on KCRW’s “Curbed Los Angeles” about the residents of South L.A.’s West Adams Heights, nicknamed Sugar Hill after a community of wealthy Black Harlemites. Learning about the sumptuous soirees Academy Award-winning actor Hattie McDaniel hosted in her Sugar Hill mansion, Lurie realized there was a hidden Black history waiting for her to unearth. But how she created the enthralling historical novel “The Great Mann” is a story that owes as much to Lurie’s ability to reinvent herself as it does to F. Scott Fitzgerald’s “The Great Gatsby,” the iconic 20th century critique of the American dream, which provided a touchstone for the novel.

Lurie, 52, grew up in Santa Cruz, far from the neighborhood where McDaniel, Louise Beavers, Ethel Waters and other striving Black actors and business pioneers depicted in “The Great Mann” lived. While she visited family regularly in L.A., Lurie stayed up north, where she penned the light-hearted 2005 book “Sex, Murder and a Double Latte.” She quickly followed it with two more mysteries. Encouraged by her success, Lurie struck out for L.A. to pursue her dream of getting into a TV writers room. The 2007 writers’ strike deferred that goal, so Lurie pivoted to write three erotic novels which, she reveals, were “critiques of capitalism wrapped in a romance novel.”

By the time she heard about Sugar Hill and its famous inhabitants, Lurie was ready to take on a more nuanced challenge. But many literary agents weren’t receptive to her change of genre. “It was as if Marlon James had gone from writing comic books to ‘A [Brief] History of Seven Killings,’” she says, name-checking the famous Jamaican writer and his Man Booker Prize-winning novel. But as Lurie continued researching the neighborhood and its history, she knew she had to tell its story, even if using “The Great Gatsby” as her North Star proved problematic.

“I’m a huge Fitzgerald fan,” Lurie says, “even though there was a line in that book that always bothered me.” She’s referring to Nick Carraway’s reference to “two bucks and a girl” upon seeing three wealthy Black people passing by in a white-chauffeured limousine. “While it was probably used to get a laugh in 1925, it was demeaning,” Lurie says of the scene. “In the wake of the Red Summer of 1919 [when a record number of race riots and lynchings of Black Americans occurred in the U.S.] and the destruction of Black Wall Street in the 1921 Tulsa Race Riot, Fitzgerald’s language says a lot about America’s cultural climate at the time.”

Was it subversive to use Fitzerald’s most famous novel to frame the story of a vibrant Black enclave whose prosperity rivaled that of Jay Gatsby and his ilk? Absolutely, Lurie says, adding, “Through a Black reimagining of ‘The Great Gatsby,’ I tried to marry a family’s story with a little-known part of L.A. history.”

The family story is told through the lens of Charlie Trammell III, a World War II veteran emotionally scarred by the violence he witnessed on the battlefield and at home in Jim Crow Virginia. Charlie arrives in L.A. looking for a fresh start and to reconnect with his cousin Margie, with whom he shares pivotal childhood experiences. But Margie, who now goes by the more exotic Marguerite, has shaken off the past and married Terrance Lewis, a vice president at Golden State Mutual Life Insurance Co. The Lewises live with their son in Sugar Hill, along with McDaniel, Beavers and Norman O. Houston, the real-life co-founder and president of Golden State Mutual.

Soon Charlie is swept into the world of L.A.’s wealthy Black elite, a mix of real Angelenos like John and Vada Somerville, pioneering Black dentists and founders of Central Avenue’s famed Dunbar Hotel; singers-actors Waters and Lena Horne; and fictional characters including James Mann, the mysterious Black businessman recently arrived in Sugar Hill who hosts lavish parties unlike anything Charlie’s ever seen: “The air is flavored with flowery perfumes and earthy cigars. All around me diamonds glitter from brown earlobes, gold watches flash against brown wrists. The only things white are the walls.”

Mann befriends Charlie, treating the recently discharged veteran to his first hand-tailored suit and fine wine, but soon embroils him in his quest to reunite with Marguerite, the love of his life since the two met some 10 years before when they both lived in the South.

“Through a Black reimagining of ‘The Great Gatsby,’ I tried to marry a family’s story with a little-known part of L.A. history,” Kyra Davis Lurie said.

(Yvette Roman Photography)

Like Fitzgerald’s classic juxtaposition of West Egg and East Egg in “Gatsby,” “The Great Mann” is about new money versus old — interlopers like Mann and the entertainers versus businesspeople like Houston and the Somervilles. But Lurie “tried not to invent flaws” in her historical figures by doing her homework, sourcing accounts in Black newspapers, biographies and even letters between Houston and NAACP leader Walter White to depict these frictions.

“The Great Mann” is also about people reinventing themselves amid the realities and contradictions of the time. Like Black actors who played maids but employed Black “help” in real life. Or the controversy over the stereotypically demeaning roles Black actors depicted. Chief among them was Delilah Johnson, the subservient Black maid portrayed by Beavers in the 1934 film “Imitation of Life.” It’s a debate that’s introduced in “The Great Mann” when Marguerite and Terrance tell Charlie that Beavers’ home, where he will be staying and which is much grander than theirs, is paid for “with Black shame.” Also addressed in the novel are touchier subjects like White’s advocacy for the lighter-skinned Horne to get roles over her darker-skinned colleagues like McDaniel or Beavers.

But the engine that fires up the plot of “The Great Mann,” and which sets it apart from “Gatsby,” is the battle Black creatives and business owners faced to hold onto their properties. A clause placed in thousands of L.A. property deeds in 1902 restricted housing covenants at the time West Adams Heights and many other L.A. County communities were developed, prohibiting homes from being sold to anyone “other than the white or Caucasian race.” But some white sellers sold property to Black buyers anyway, who then had to fight white groups — like the West Adams Heights Improvement Assn. — to prevent eviction from their own homes.

To say how Sugar Hill’s Black residents fared in court would spoil the enjoyment of this suspenseful tale, which has put Lurie on a new path in writing historical fiction. She has another project percolating, but for now, she’s just grateful to have found her niche. “It’s been a journey,” she says of the twists and turns of her writing life, “but writing about historical Black lives feels like home to me, what I was meant to do.”

Lurie will be discussing “The Great Mann” at Vroman’s Bookstore at 7 p.m. June 10; Diesel, a Bookstore at 6:30 p.m. June 11; and Chevalier’s Books at 6:30 p.m. June 19.

Fancy footwork won him Wimbledon.

Simple footwear won him everything since.

“The shoe has had a life of its own,” said Stan Smith, 78, whose eponymous Adidas kicks, with their timeless lines and leather uppers, are the king of all tennis sneakers with more than 100 million sold. “People from all walks of life have embraced them.”

Not surprisingly, Smith has a head for business to match his feet for tennis.

With that in mind, he and longtime business partner Gary Niebur wrote the just-released “Winning Trust: How to Create Moments that Matter,” aimed at helping businesses develop stronger relationships with their clients, with tips that readers can apply to their personal relationships and to sports.

“The book is about developing relationships that can elevate the element of trust, which is a depreciating asset in today’s world,” Smith said this week in a call from the French Open.

Stan Smith and Gary Niebur’s book, “Winning Trust,” was released earlier this year.

(Courtesy of Stan Smith)

When it comes to building and maintaining high-stakes relationships, Smith and Niebur have distilled their process into five key elements they call SERVE, a recurring theme throughout the book. That’s an acronym for Strategize, Engage, Recreate, Volley and Elevate.

For instance, recreate — as in recreation — means to build bonds through fun shared experiences, and volley means to trade ideas back and forth to find solutions.

“When people realize that you care more about the relationship than the transaction,” Niebur said, “trust follows.”

A onetime standout at Pasadena High and USC, Smith was a close friend of the late Arthur Ashe, the UCLA legend whose name graces the main stadium court at Flushing Meadows, N.Y., home of the U.S. Open.

This year marks the 50th anniversary of Ashe’s victory at Wimbledon, when he beat the heavily favored Jimmy Connors in the 1975 final. Ashe remains the only Black man to win the singles title at that storied tournament.

“Arthur was a good friend,” Smith said. “He made a huge impact, and much more of an impact in the last few years of his life when he was fighting AIDS and the heart fund, and obviously for equal rights.”

Arthur Ashe celebrates after winning the Wimbledon men’s singles title in 1975.

(Associated Press)

Ashe, who contracted HIV from a blood transfusion he received during heart-bypass surgery, died in 1993. Although he was four years older than Smith, the two developed a close friendship when they traveled the globe as Davis Cup teammates and rising professionals.

Smith has vivid memories of traveling with him, Ashe in his “Citizen of the World” T-shirt with his nose forever buried in a newspaper or magazine. Smith was ranked No. 1 in the U.S. at the time, two spots ahead of his pal, yet the wildly popular Ashe always got top billing.

“When we went to Africa, I was the other guy who played against him in all these exhibitions,” Smith told The Times in 2018. “They would introduce him as Arthur Ashe, No. 1 player in the U.S., No. 1 in the world, one of the greatest players to ever play the game … and Stan Smith, his opponent.”

Smith laughs about that now, but it used to chafe him. Finally, he raised the issue with his buddy.

Recalled Smith in that 2018 interview: “Arthur came up to me and said, ‘I’m sorry about that. If we do a tour of Alabama, I’ll carry your rackets for you.’ He was in tune with everything.

“Arthur was a quiet leader walking a tightrope between a traditionally white sport and the black community.”

Smith will be at Wimbledon next month, where his UCLA friend will be honored.

As for his shoes, they’re everywhere, and have been since the 1970s. Adidas originally developed the shoe for French player Robert Haillet in the mid-1960s, and the sneakers were known as the “Haillet.”

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Tennis great Stan Smith talks about some of the ideas he hopes his new book will convey to readers.

In 1972, the company switched to Smith, naming the shoes in his honor and printing a tiny picture of his mustachioed face on them. There were subtle changes to the Haillet, including a notch in the tongue for laces to pass through and a heel better shaped to protect the Achilles tendon.

They sold like crazy. In 1988, Stan Smiths made the “Guinness Book of World Records” for the most pairs sold at 22 million. Yet that was only the beginning as sales surged with the release of the Stan Smith II and retro Stan Smith 80s. The most common ones were solid white with touch of green on the back.

“Hugh Grant turned around last year in the [Wimbledon] royal box and said, `First girl I ever kissed, I was wearing your shoes,’” Smith told The Times in 2022. “Another guy said he met this girl when he was wearing my shoes. It was so meaningful that they both wore the shoes for their wedding seven years later.

“It started off as a tennis shoe. Now it’s a fashion shoe.”

Tennis great Stan Smith with his namesake Adidas shoe.

(Sam Farmer / Los Angeles Times)

Smith’s personal collection has climbed to more than 100 size 13s in all sorts of colors, including his favorite pair in cardinal and black, an homage to his USC roots.

In 2022, to commemorate the 50th anniversary of Smith’s Wimbledon singles title, Adidas gave all of its sponsored players a pair of shoes with SW19 on the tongue — Wimbledon’s postcode — with the date of that match against Ilie Nastase inside the right shoe and the score of the match inside the left.

At Wimbledon this year, the spotlight swings to the other side of Los Angeles, to an unforgettable Bruin, a sports hero who impacted so many lives.

For Smith, his friendship with Ashe was an early example in his career of a relationship forged with trust.

The book, incidentally, is affixed with a unique and fitting page marker.

A shoelace.

There are many factors that led Taylor Jenkins Reid to choose space as the backdrop of her new novel, “Atmosphere,” a thrilling love story set at NASA in the 1980s.

One may very well have been her L.A. commute.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Specifically, her journey along the Dr. Sally Ride Memorial Highway, a portion of the 101 Freeway in Encino. “I am sure that it worked its way into my subconscious,” Reid says. “It was there waiting for me because I’ve driven by that sign so many times.”

So much of Encino and the Valley inspires Reid, the author of a shining repertoire of bestselling novels including “Daisy Jones & the Six” and “The Seven Husbands of Evelyn Hugo.” She talks about the hikes, the views and the charming restaurants that have stood for generations. Here’s how she’d spend a perfect day in L.A. with her husband, Alex Jenkins Reid, and their 8-year-old daughter, Lilah.

8 a.m. Wake up and grab a book
Everybody in my house is reading in bed. I am reading “Harlem Rhapsody” by Victoria Christopher Murray. I have been late multiple mornings now because of how much I’m enjoying it. It’s like, “Oh, sorry, I was reading.” My kid does the same thing. She and I will both be like, “Wait, it’s already 7:40? You’re supposed to be in school!” But both of us are reading.

9:30 a.m.: A place where everybody knows your name
My family and I love to go to this small diner in the Valley called Millie’s. It’s a no-frills place, but the food is so good and my husband’s family has been going there for at least 30 years. The server always remembers my husband’s grandpa and asks how his grandma’s doing and how his mom is doing and his brothers are doing. It has such a lovely small-town feel to it. Also, the tortilla soup is incredibly good. It’s, like, one of my favorite things

10:30 a.m.: Hit the trail
After that, I inevitably will try to bribe my daughter into a hike. Sometimes it works, sometimes it doesn’t. The thing is, she actually does love to hike and just forgets that she does. Where I love to go — and I have not been able to because of the fires — is the Upper Canyonback Trailhead [temporarily closed] in Encino Hills. There are two ways you can go. If you go to the left, there’s a really great view of the city. You can see down to Century City and even downtown on a clear day. And the hills are gorgeous. But if you go to the right, you can see the Encino Reservoir and eventually you get to a decommissioned Nike missile silo. We make a game-time decision.

Noon: A bookstore afternoon
Then I have to make good on the way that I bribed my kid and one of her favorite things to do is go to Vroman’s in Pasadena. It has one of the best children’s book sections in Los Angeles — it takes up half of their second floor. She’ll grab a bunch of books, I will have grabbed books from downstairs and we’ll be sitting on a bench reading them. And you know, my husband’s like, “Dude, would you like to leave and actually pay for these?”

2 p.m.: Hop around Old Town Pasadena
Not that far from Vroman’s, there’s this intersection that has so many things that all of us like. Motto Tea Cafe serves Japanese soufflé-style pancakes. They’re so fluffy! My daughter normally gets the plain ones with the Nutella cream on top. This place is often quite packed, so we order in advance. Then there’s this ice cream place called Kinrose Creamery that is unbelievable. They indulged me by letting me try basically every flavor. They have a sour cherry with candy floss that is unlike anything I’ve ever had. And there’s a park near there, Central Park, that is really beautiful and has a very expansive playground area. And so my kid will go play for a little while.

3:30 p.m.: Indulge an obsession
On the walk back to our car, I will go to Farrow & Ball and just look at paint colors. I’m completely obsessed with paint colors, so I make my family go pretty often. I never have a reason to be there. When the person is like, “How can I help you? Are you looking to paint something?” I’m like, “No, I just want to look at paint colors.” They’ve got great names for all their paint — I could probably name them all for you, literally. The ones I have in my house: Dead Salmon, Skimming Stone, Wimborne White. My daughter and I have become obsessed with a very pretty coral-y orange called Naperon. Both of us are like, “We have to paint something Naperon!”

There’s a woman who is the color curator for Farrow & Ball and her name is Joa Studholme. She’s the only person that is famous to me and my daughter. She makes these videos where she’s talking about why they came up with a paint color and my kid and I will just watch them four different times.

5:30 p.m.: Best pasta ever
Every Sunday night, we eat takeout from Lido Pizza. Doesn’t matter the fanciest place I’ve ever been to — this is the best pasta. I love it so much. And there’s something about their salad dressing that is exactly what my taste buds want in a salad dressing. I have gone so far as to order a full jug of it for my house.

It’s such a humble, unassuming place. We’ve been taking my daughter there since she was a baby. When the movie “Booksmart” came out, we were watching it and saw that a whole scene takes place in the Lido parking lot. We eat there every single Sunday night, and at this point, they have to just know the call is coming sometime around 5:30.

7:45 p.m.: The “Goodnight Special”
My daughter gets into bed and reads for an hour. During that time, my husband and I will watch an episode of something — lately, we’ve been watching “The Studio.” Then when it’s time to go to bed, she comes out of her bedroom and asks for the “Goodnight Special.” It’s when I hold her for a minute and sing to her. She called it that just one day. She was like, “I need the ‘Goodnight Special.’” I was like, “I think I know what you mean by that.” And then my husband and I will go to bed around 10:30.

When Debbie Allen opened the doors to her dance academy in 2000 inside of a revamped Marie Callender’s restaurant in Culver City, there was no other place in town like it that catered to disenfranchised Black and Latino communities.

The school became a haven for dancers of all backgrounds wanting to learn from the multifaceted performer, who chasséd into the Hollywood scene with her career-defining performance as Lydia Grant in the 1980 musical “Fame.” Allen went onto become an award-winning director and producer for shows like “Grey’s Anatomy” (which she also stars in), “How to Get Away With Murder,” “A Different World,” “Jane the Virgin” and “Everybody Hates Chris.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Fast forward 25 years, the Debbie Allen Dance Academy now resides in a 25,000-square-foot “arts” palace in Mid City at the Rhimes Performing Arts Center (named after Allen’s longtime friend and colleague Shonda Rhimes). It’s more active than ever with a newly accredited middle school, a summer intensive program, a tap festival and annual “Hot Chocolate Nutcracker” holiday show. Next up, Allen is hosting her third free community block party on June 8 on Washington Boulevard, featuring dance classes with world-renowned choreographers like Marguerite Derricks and a breakdancing competition with Silverback Bboy Events. And on June 22, Allen will host Dancing in the Light: Healing with the Arts, a bimonthly event that features free dance lessons for those impacted by the wildfires. The event will take place at the Wallis in Beverly Hills and will feature classes taught by choreographers Lyrik Cruz (salsa), Angela Jordan (African) and Anthony Berry (hip-hop).

“It’s been wonderful that this community has been able to see each other and have a bit of joy,” Allen said during a Zoom call from Atlanta, where she was working on a new TV pilot.

We caught up with Allen, who’s lived in L.A. for nearly 40 years, to learn about how she’d spend her perfect Sunday in the city. Much like when she was a child growing up in Houston, Sundays are centered around family and spending time with her four grandchildren who “own” her weekends, she said. On the call sheet is getting breakfast in Santa Monica, hosting a free dance class and catching a movie at Westfield Century City.

This interview has been lightly edited for length and clarity.

7 a.m.: Wake up the grandbabies

On a typical Sunday, I would wake up at 7 a.m. My [eldest] grandchildren spend the night with us every Saturday. I have four grandkids who are 6, 4, and two who are 6 months old. The little ones are just now getting to where their parents might let us keep them overnight. My room has turned into a nursery.

First, we deal with our dog CoCo. We have a beautiful black German shepherd who is amazing. She’s such a good family dog and incredible guard dog. She just glistens, just pure black, and she’s wonderful with the kids. So we have to let her out and she wants to play. Then we get ready to go to breakfast.

9 a.m..: Time for breakfast

We always go out somewhere for breakfast. We either go to a nearby hotel or we go to Marmalade in Santa Monica. They have very fresh croissants, little biscuits with currants and scones. They also have really good omelets and turkey bacon. Then the neighborhood people are there, so we see people that we’ve met and have gotten to know over the years. There’s one man in particular who is always reading books and we can always get a new idea of a book to read.

11 a.m.: Host a free dance class

Then we’d come back and on any given Sunday, I might be on my way to Dancing in the Light: Healing with the Arts, where I’ve been doing these dance classes for all the people who have been impacted by the fires. We’ve been doing this for months and it’s been amazing. We’ve had tremendous support from Wallis Annenberg, United Way, Shonda Rhimes, Berry Gordy, just so many individuals who have supported. We do classes all over, which start at 11 a.m. But if we’re not doing the Dancing in the Light event, sometimes we like to go to the California Science Center, which the kids love. It’s great because there’s so much going on there now.

2:30 p.m.: Tennis time

I’ll head back home to catch the kids having their tennis lesson. They are starting to play at this young age and it’s so cute.

5 p.m.: Early dinner and a movie

We’d either start preparing family dinner because I have a son who has his 6-month-old and my daughter, Vivian, who has her three kids. Or we’d go out to dinner. We love to go to Ivy at the Shore because it’s very family-friendly and they have a lot of options. We also like going to Chinois. It’s a Wolfgang Puck spot. We’d have an early dinner around 5 p.m. If we don’t go out to eat, we might go to the movies. We love going to the movies. We’re really close to AMC Santa Monica, but sometimes we’ll go to [Westfield] Century City because they have a fantastic food court and the kids like to go up there and pick what they want to eat.

7:30 p.m.: Quality time with MaTurk

We’d come back home and spend time with my mom, who we call MaTurk. She’s 101 years old. We’d play her favorite music because she was a concert pianist. I did a beautiful piece for her at the Kennedy Center this year based on her book, “Hawk,” which we republished. It’s on sale now. But Gershwin’s “Rhapsody in Blue” is her favorite. She played it for me when I was 4 years old, going to sleep on her lap. And my granddaughters are the cutest things with MaTurk. They like to pretend they are the caregivers and they want to brush her hair. They want to massage her legs. It’s a sweet thing.

8:30 p.m.: Catch up on our favorite shows

After that, it’s time to say goodbye to the grandkids. Then my husband and I will nestle in. We’re always reading books and watching various series. We’ve been watching Shonda Rhimes’ “The Residence” lately. We love it! And he also is addicted to “Power Book.” If I could pick, I’d be in bed by 9:30 p.m.

The first film I saw in a theater was “The Love Bug,” Disney’s 1969 comedy about a sentient Volkswagen Beetle named Herbie and the motley team who race him to many a checkered flag. Although my memory is hazy, I recall my toddler’s delight: a car could think, move and communicate like a real person, even chauffeuring the romantic leads to their honeymoon. Nice Herbie!

Or not so nice. A decade later, Stanley Kubrick opened his virtuosic “The Shining” with fluid tracking shots of the same model of automobile headed toward the Overlook Hotel and a rendezvous with horror. Something had clicked. Caroline Fraser’s scorching, seductive “Murderland” chronicles the serial-killer epidemic that swept the U.S. in the 1970s and ’80s, focusing on her native Seattle and neighboring Tacoma, where Ted Bundy was raised. He drove a Beetle, hunting for prey. She underscores the striking associations between VWs and high-yield predators, as if the cars were accomplices, malevolent Herbies dispensing victims efficiently. (Bundy’s vehicle is now displayed in a Tennessee museum.) The book’s a meld of true crime, memoir and social commentary, but with a mission: to shock readers into a deeper understanding of the American Nightmare, ecological devastation entwined with senseless sadism. “Murderland” is not for the faint of heart, yet we can’t look away: Fraser’s writing is that vivid and dynamic.

She structures her narrative chronologically, conveyed in present tense, newsreel-style, evoking the Pacific Northwest’s woodsy tang and bland suburbia. Fraser came of age on Mercer Island, adjacent to Lake Washington’s eastern shore, across a heavily-trafficked pontoon bridge notorious for fatal crashes. Like the Beetle, the dangerous bridge threads throughout “Murderland,” braiding the author’s personal story with those of her cast. A “Star Trek” geek stuck in a rigid Christian Science family, she loathed her father and longed to escape.

In Tacoma, 35 miles to the south, Ted Bundy grew up near the American Smelting and Refining Co., which disgorged obscene levels of lead and arsenic into the air while netting millions for the Guggenheim dynasty before its 1986 closure. Bundy is the book’s charismatic centerpiece, a handsome, well-dressed sociopath in shiny patent-leather shoes, flitting from college to college, job to job, corpse to corpse. During the 1970s, he abducted dozens of young women, raping and strangling them on sprees across the country, often engaging in postmortem sex before disposing their bodies. He escaped custody twice in Colorado — once from a courthouse and another time from a jail — before he was finally locked up for good after his brutal attacks on Chi Omega sorority sisters at Florida State University.

Fraser depicts his bloody brotherhood with similar flair. Israel Keyes claimed Bundy as a hero. Gary Ridgway, the prolific “Green River Killer,” inhaled the same Puget Sound toxins. Randy Woodfield trawled I-5 in his 1974 Champagne Edition Beetle. As she observes of Richard Ramirez, Los Angeles’ “Night Stalker”: “He’s six foot one, wears black, and never smiles. He has a dead stare, like a shark. He doesn’t bathe. He has bad teeth. He’s about to go beserk.” But the archvillain is ASARCO, the mining corporation that dodged regulations, putting profitability over people. Fraser reveals an uncanny pattern of polluting smelters and the men brought up in their shadows, prone to mood swings and erratic tantrums. The science seems speculative until the book’s conclusion, where she highlights recent data, explicitly mapping links.

Caroline Fraser laments the lack of accountability that the wealthy Guggenheim family has faced for operating a company that spewed toxins in Tacoma air for decades.

(Hal Espen)

Her previous work, “Prairie Fires,” a biography of Laura Ingalls Wilder, won the Pulitzer Prize and other accolades. The pivot here is dramatic, a bit of formal experimentation as Fraser shatters the fourth wall, luring us from our comfort zone. While rooted in the New Journalism of Joan Didion and John McPhee, “Murderland” deploys a mocking tone to draw us in, scattering deadpan jokes among chapters: “In 1974 there are at least a half a dozen serial killers operating in Washington. Nobody can see the forest for the trees.” Fraser delivers a brimstone sermon worthy of a Baptist preacher at a tent revival, raging at plutocrats who ravage those with less (or nothing at all).

Her fury blazes beyond balance sheets and into curated spaces of elites. She singles out Roger W. Straus Jr., tony Manhattan publisher, patron of the arts and grandson of Daniel Guggenheim, whose Tacoma smelter may have scrambled Bundy’s brain. She mentions Straus’ penchant for ascots and cashmere jackets. She laments the lack of accountability. “Roger W. Straus Jr. completes the process of whitewashing the family name,” she writes. “Whatever the Sackler family is trying to do by collecting art and endowing museums, lifting their skirts away from the hundreds of thousands addicted and killed by prescription opioids manufactured and sold by their company — Purdue Pharma — the Guggenheims have already stealthily and handily accomplished.” Has Fraser met a sacred cow she wouldn’t skewer?

Those beautiful Cézannes and Picassos in the Guggenheim Museum can’t paper over the atrocities; the gilded myths of American optimism, our upward mobility and welcoming shores won’t mask the demons. “The furniture of the past is permanent,” she notes. “The cuckoo clock, the Dutch door, the daylight basement — humble horsemen of the domestic Apocalypse. The VWs, parked in the driveway.” “Murderland” is a superb and disturbing vivisection of our darkest urges, this summer’s premier nonfiction read.

Cain is a book critic and the author of a memoir, “This Boy’s Faith: Notes from a Southern Baptist Upbringing.” He lives in Brooklyn, New York.

WASHINGTON — President Trump ordered his administration on Wednesday to investigate then-President Biden’s use of an autopen to sign pardons and other documents, increasing the pressure on his predecessor as House Republicans also requested interviews with members of Biden’s inner circle.

An autopen is a mechanical device that is used to replicate a person’s authentic signature, and presidents have used them for decades. However, Trump has frequently suggested that some of Biden’s actions are invalid because his aides were usurping presidential authority to cover up what Trump claims is Biden’s cognitive decline.

“This conspiracy marks one of the most dangerous and concerning scandals in American history,” Trump wrote in a memo. “The American public was purposefully shielded from discovering who wielded the executive power, all while Biden’s signature was deployed across thousands of documents to effect radical policy shifts.”

Trump directed Atty. Gen. Pam Bondi and White House Counsel David Warrington to handle the investigation.

Meanwhile, House Oversight Committee Chairman James Comer of Kentucky, a Republican, requested transcribed interviews with five Biden aides, alleging they had participated in a “cover-up” that amounted to “one of the greatest scandals in our nation’s history.”

“These five former senior advisors were eyewitnesses to President Biden’s condition and operations within the Biden White House,” Comer said in a statement. “They must appear before the House Oversight Committee and provide truthful answers about President Biden’s cognitive state and who was calling the shots.”

Interviews were requested with White House senior advisors Mike Donilon and Anita Dunn, former White House Chief of Staff Ron Klain, former Deputy Chief of Staff Bruce Reed and Steve Ricchetti, a former counselor to the president.

Comer reiterated his call for Biden’s physician, Kevin O’Connor, and former senior White House aides Annie Tomasini, Anthony Bernal, Ashley Williams and Neera Tanden to appear before the committee. He warned subpoenas would be issued this week if they refuse to schedule voluntary interviews.

“I think that people will start coming in the next two weeks,” Comer told reporters. He added that the committee would release a report with its findings, “and we’ll release the transcribed interviews, so it’ll be very transparent.”

Democrats have dismissed the effort as a distraction.

“Chairman Comer had his big shot in the last Congress to impeach Joe Biden and it was, of course, a spectacular flop,” said Rep. Jamie Raskin, the Maryland Democrat who served as the ranking member on the Oversight Committee in the previous Congress. “And now he’s just living off of a spent dream. It’s over. And he should give up the whole thing.”

Republicans on the committee are eager to pursue the investigation.

“The American people didn’t elect a bureaucracy to run the country,” said Rep. Brandon Gill, a freshman Republican from Texas. “I think that the American people deserve to know the truth and they want to know the truth of what happened.”

The Republican inquiry so far has focused on the final executive actions of Biden’s administration, which included the issuing of new federal rules and presidential pardons that they claim may be invalid.

Comer cited the book “Original Sin” by CNN’s Jake Tapper and Axios’ Alex Thompson, which details concerns and debates inside the White House and Democratic Party over Biden’s mental state and age.

In the book, Tapper and Thompson wrote, “Five people were running the country, and Joe Biden was at best a senior member of the board.”

Biden and members of his family have vigorously denied the book’s claims.

“This book is political fairy smut for the permanent, professional chattering class,” said Naomi Biden, the former president’s granddaughter.

Biden withdrew from the presidential race last summer after a debate against Trump in which he appeared to lose his train of thought multiple times, muttered inaudible answers and misnamed different government programs.

The disastrous debate performance pushed questions about his age and mental acuity to the forefront, ultimately leading Biden to withdraw from the presidential race. He was replaced on the ticket by Kamala Harris, who lost the election to Trump.

Brown and Megerian write for the Associated Press.

ABC’s “Will Trent” is no ordinary police procedural.

“There’s a thousand cop shows,” said Ramón Rodriguez, who portrays the show’s main character, Will Trent. “How do you make this one stand out?”

The broadcast drama series, which also airs on Hulu, centers special agent Trent: a dapper investigator whose instinctual crime-solving skills render him essential to the Georgia Bureau of Investigation. But beneath the three-piece suit, there’s a more complex side to Trent, who navigates the residual trauma from being abandoned at birth and growing up in the Atlanta foster care system. He is also dyslexic.

“One of the exciting things when I came onto the show was not knowing where this character was from,” said Rodriguez, 45. “Trent was very much [written as] a colorless character.”

Born in San Juan, Puerto Rico, Rodriguez greeted me on a Zoom call from his present home in Southern California, while wearing a New York Knicks cap. Before “Will Trent,” he previously played the first main Hispanic character on the HBO series “The Wire,” and appeared in films such as 2009’s “Transformers: Revenge of the Fallen” and “G20,” a thriller featuring Viola Davis, which premiered April 10 on Amazon Prime Video.

Since the 2023 premiere of “Will Trent,” Rodriguez has molded his beloved character in many ways; he’s a hard-nosed detective with a mushy side, which is most evident in scenes with his pocket-sized chihuahua named Betty. Based on Karin Slaughter’s New York Times-bestselling novel series “Will Trent,” showrunners Liz Heldens and Daniel Thomsen organically tailored the titular role to reflect Rodriguez’s real-life Puerto Rican identity. It’s a major win for Latinos in an industry that otherwise lacks Latino-led programming.

“Once we run out of feeling fresh, creative, excited and inspired, then I think we start phoning it in,” said Rodriguez. “But that’s something I’m not interested in and I know my partners aren’t either.”

Rodriguez has taken on roles behind the camera as well. He directed “I’m a Guest Here,” the first episode of Season 3, which wrapped earlier this month; he was also named an executive producer. “I really wanted to be a part of the creative collaboration of creating this character in this show,” said Rodriguez.

When Season 3 dropped a bombshell regarding Trent’s biological father, it paved the way for a nail-biting Season 4, which was confirmed earlier this year.

This interview has been edited and shortened for clarity. It also reveals Season 3 spoilers.

In the books, Will Trent isn’t Puerto Rican, but this series is peeking into your own Puerto Rican identity. What are your thoughts on that?

It was a topic that they were curious about exploring. Where does Will come from as an orphan who grew up in the foster care system? Identity becomes a focal point for someone like that. Again [him being Puerto Rican] isn’t in the books, which is kind of exciting. We’ve been able to separate and say that the books are the books.

It wasn’t something that we were trying to sort of check a box and say, “Great, Will’s heritage is Puerto Rican.” It was a very organic explanation of this character discovering who he is.

When you were cast for the lead, did you ever picture the show as what it is today?

 You never know what’s gonna work and why it’s gonna work. You don’t have control of a lot of things in this business. The one thing I do have control over is my work, what I can bring to it, what I try to do. This is the first time I’ve been on a show that’s gone on for this long from the pilot.

If you would’ve asked me that, is this gonna be the show that goes past one season? I probably would’ve said, “I don’t think so.” And it’s nothing against the show, you just don’t know. It took a minute for me to be fully convinced, but I’m so grateful that they were willing to continue having conversations with me and that they were really willing to have me on as a partner because that was important to me.

It doesn’t feel like the show hinges on those elements of identity. Why is it important to keep that balance in this procedural show?

[Solving cases is] another aspect of the show that I know audiences love. I just think the things that tend to pull our hearts to the things that are emotional and personal things, what someone’s struggling with or how are they overcoming it.

In Season 3, we have a really pivotal moment where Will accidentally shoots a bad guy, but ends up killing a young boy by accident. That case ended up changing the rest of the season — he was not able to recover from that event of having the boy die in his arms. That was Episode 11 and that will likely go into Season 4.

Your dog Betty also shines in Season 3. We get to hear her voice for the first time which happens during a fun hallucination scene. What was it like to film that episode?

That was two episodes after this tragic episode I just described, which is crazy, right? We wanted to mix levity and humor with our heavy drama and emotional stuff.

So as Will was entering this case that involved a cult, he gets caught undercover and in that process he gets drugged. Liz Heldens, one of our showrunners, had been dying to find a way to get me to dance on this show, and I was like “Listen: Will Trent is an awkward individual, he’s not someone that’s out here dancing.” She was like, “Well, what if that’s a hallucination?” I was like, “That’s brilliant!” Anything can happen while he’s tripping.

I remember I was walking on set and one of our production assistants, Tim, had read the script and said, “What if Betty talks?” So I pitched that to Liz and she topped it and went, “Well, what if Betty’s British?”

You made your directorial debut in Season 3. How was that experience for you?

I felt like a kid in a candy store. By Season 3, I really understood the character and what works with our show, where our strengths are. I just got to be me in certain scenes, because at the start of the [third] season Will has left the [Georgia Bureau of Investigation], he’s got a beard and he’s in a T-shirt, jeans and curly hair.

It was also fun to direct new cast members. We introduced Gina Rodriguez, who played Marion Alba, and Antwayn Hopper, who played Rafel Wexford. Which was really fun. I’d be like: “No notes.” [Laughs.]

Will you be directing in Season 4?

 I will definitely be directing at least one episode next season. It makes the most sense for me to direct the premiere as I did this past season. I love that pressure of having to set the bar for a season.

What can audiences expect for the upcoming season?

We’re about to begin these serious conversations. There were some pretty serious cliffhangers at the end of Season 3, where we find out Angie Polaski (Erika Christensen) is pregnant, and Will is definitely not the father, so that’s gonna be something to explore. Amanda Wagner (Sonja Sohn), who is a maternal figure for Will, is in the hospital bed. We just discovered his dad, [Sheriff Caleb Roussard], which we don’t know too much about, so I’d want to know more about the character and what happened with the mom. There’s just so many questions that we will get to explore — I mean, is there new love in Will’s life?

Travel expert reveals five types of accommodation that should set off alarm bells for savvy travellers – and the list might surprise you

A travel expert has unearthed five kinds of lodgings that shrewd tourists should dodge. At the pinnacle of his list sits the notoriously overpriced airport hotel, trapping many who favour convenience without considering the toll on both their wallets and overall holiday joy.

Travellers looking for the perfect getaway may want to think twice before clicking “book now”, according to an expert who pointed out five red flags. Javier Sobrino, the mastermind behind Descubriendo Viajes – a bespoke Spanish travel platform – has spoken out, asking travellers to do their research before booking.

He waves a cautionary flag at deceivingly cheap all-inclusive resorts, particularly those plagued by dismal reviews. The expert also had some advice about booking airport hotel accommodation.

Javier said: “Unless you’ve got a flight departing before 8am, you’re wasting your final night in a sterile room when you could enjoy a meal with local flavour and charm.”

While some all-inclusive packages promise savings and some of course are well worth the ease in booking, some guests often report ‘let-downs’ such as dilute beverages, dodgy buffet sanitation, and an underwhelming vibe.

“Budget all-inclusives often serve mediocre food in buffets where items sit out for hours,” Sobrino cautions. Poorly rated all-inclusive packages are more likely to disappoint, according to reviewers.

Mr Sobrino suggests keeping a “vigilant” eye on food-related critiques and steering clear of resorts that have left holidaymakers less than unimpressed reports the Express.

Guests are advised to pay close attention to food-related reviews and avoid any resort where the majority of comments are lukewarm at best.

Should less than a quarter of feedback gleam with “excellent” badges, chances are high for an unsatisfactory stay.

Mr Sobrino also points out that seemingly inexpensive roadside hotels in remote locations can harbour unseen drawbacks that have the potential to derail an adventure, especially for travellers not well-acquainted with the territory.

Hotels situated along highways often fall short due to subpar soundproofing, limited dining options, and a general feeling of seclusion.

Sobrino recounted a personal experience where he booked a roadside hotel near Valencia that appeared decent in photos, only to discover it was adjacent to a noisy truck stop, resulting in sleepless nights and missed local experiences.

Although the prices may be enticing, the lack of convenience and ambiance makes these hotels a poor choice for most travellers. Being too far from city centres or attractions can easily turn a dream trip into a logistical nightmare.

Sobrino also warns against hotels undergoing renovations, as they often mislead guests by downplaying disruptions. “They’ll offer slight discounts while claiming renovations are ‘minimal’, but arrive to find half the amenities closed and construction noise starting at 7am,” he said.

The expert advises travellers to contact hotels directly before booking to inquire about any ongoing work and to be wary of vague or evasive answers.

Lastly, hotels offering extremely low prices in prime locations should be approached with caution, as they often conceal poor conditions behind slick marketing. “They either have hidden fees that double the price, terrible service, or rooms that haven’t been updated since the 1980s,” he warned.

According to Sobrino, “A truly great stay isn’t about luxury, it’s about honest value delivered with genuine hospitality.”

Terry Crews is a man of many talents. In the 1990s, he played for both the Rams and the Chargers before becoming an actor and starring in projects like “White Chicks,” “Everybody Hates Chris,” “Brooklyn Nine-Nine” and “The Expendables” franchise. Other roles on his resume? Old Spice spokesman, high-end furniture designer, accomplished painter and author of a memoir. Crews was also featured in People magazine’s Sexiest Man Alive issue three times.

But the gig that has made him internationally known, he says, is hosting “America’s Got Talent” for the last six years. The show, which is celebrating 20 seasons, returns to NBC on May 27.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

For Crews, hosting “AGT” is a job that suits him. “I am a honey-baked ham,” he shamelessly admits, flashing his endearing white smile during a Zoom call. “I like the spotlight. I’ve always been a dancer, so it was like this is the vibe. But then I got in there, and I was like, now I see why I love this so much. It’s because every contestant reminds me of me.”

We caught up with Crews to discuss his ideal Sunday in L.A. It involves walking around Old Town Pasadena, catching a movie and spending time with his wife Rebecca King-Crews and their five adult children.

This interview has been lightly edited for length and clarity.

6:30 a.m.: Wake up and hit the gym

I am an early riser no matter what. Even if it’s Sunday, it’s like, my body clock just kind of pops up. Like when I say I sleep in late, that’s 6:30 or 7 a.m. because I like to get up at the crack of dawn. I’m a 4:30 or 5 a.m. guy. Every Sunday, I start with a workout. It’s very light, more of cardio and active recovery, but I never miss it.

9 a.m.: Pick up breakfast from Erewhon

I’ve been intermittent fasting for almost 15 years, so I don’t eat breakfast, but I love breakfast food. So what I do — and this is a real staple — we have an Erewhon that opened near us and it has the most fabulous cooked breakfast. It’s half a store, half a restaurant. Erewhon has the best smoothies, the best pastries. Even though I don’t eat until 2 p.m., I go to Erewhon and get all their breakfast stuff. I’ll get the bacon and eggs, or the breakfast sandwiches [and] breakfast burritos. A lot of the time on Sundays, that’s when all the kids want to stop by, so I’ll bring a bunch of stuff, set it on the stove, and they go in there and I tell them, “Leave me something.”

10 a.m.: Praise break at home

My wife actually started a church. It’s called the L.A. Life Church. It’s like Tiny Desk meets church and she has a thing called Sonic Sundays. It’s online, but we record during the week, and it’s basically a half an hour with a lot of music, and then she does a lesson. We watch it together every Sunday morning when it comes out at 10 a.m. When COVID hit, it kind of changed our churchgoing habits because everybody had to do it at home, and she just decided, “You know what? Let’s just do it!”

11:30 a.m.: Hit up Old Town in Pasadena

Once that’s over, that’s when we go down to Old Town. It’s our favorite place to go. I have an office slash studio that’s right off Colorado Avenue. That’s where all the stores are, and my wife has a store, Rebeccca Crews, which is in Hugus Alley. My daughter works there too. So we’ll walk around Old Town and I’ll stop by Alfred to pick up a coffee. I get a double espresso, straight with nothing in it.

We do occasionally do brunches. We really like Soho House in West Hollywood and also LA Cha Cha Chá near the Arts District.

1:30 p.m.: Breakfast for lunch

If we decide to stay out, one place we love is Americana in Glendale, which is really close. I love this place called Egg Slut there. Crazy name, but man-oh-man, like I told you, I love breakfast food and they close at 2 p.m. So we have to time it out. We’ll do all that Old Town running around, then we’ll jump down to Glendale and usually I get there by 1:30 p.m. and I’ll be their last customer, and they know me. I have a double bacon, double egg breakfast sandwich. It comes with a little ketchup on it and I get a side salad, which is like arugula and a little Parmesan and maybe a small orange juice.

3:30 p.m.: Pop over to the Americana in Glendale

I love books. I have a library of books that is probably the most valuable thing that I own. I probably have like 10,000 books, so what I love to do is go to Barnes and Noble. You can’t find them anymore. It’s very rare and the Barnes and Noble at Americana is one of my favorite spots, because I’ll get lost. You can spend literally two or three hours there.

5 p.m.: Watch a flick

I’m a big movie guy, so usually on a Sunday, that’s when I do my theater watching. I’ve been getting tickets to throwback movies. Being at home, it’s OK, but I love the smell of popcorn and I love to experience the reactions of other people. When you’re going to see a comedy or something scary or something weird, it’s kind of like you want to feel that energy, so we go to IPIC. I’m a gold member. I’m practically a platinum member because I’m about really nice experiences. If you’re going to do a theater, do it well.

7 p.m.: Enjoy my cheat–day meal

Even though I do intermittent fasting, Sunday is my cheat day. When it’s time for dinner, that’s In-N-Out Burger time. I’ll get a couple double-doubles. You know, I’m simple. Or we’ll find a restaurant that everyone’s been talking about. But a lot of times, they aren’t open on Sunday nights. There are a few like Majordomo that my guy David Chang [owns], but other than that, it’s In-N-Out Burger time.

If there’s a sporting event on a Sunday, I’d go to SoFi to see a football game. I was on the Rams and the Chargers, so the funny thing is, when I get invited to a Chargers game, I act like I’m the biggest Chargers fan in the world, and then when I get invited to the Rams game, I do the same thing. They both ended up in L.A., so they both claim me and I’m like yep [laughs].

8 p.m.: Get ready for bed

I go to bed early and my wife is like, “What are we, in third grade?” [Laughs] That’s why I don’t like to go to the movies too late. I will never, ever go to a movie that starts at 7 p.m. cause you won’t be out of there until like 10 p.m. I’m like nope! I go to bed at the latest 8:30 p.m. and my regime — something I’ve been doing for years and it feels so good — is I close all the curtains, make sure the room is all cool. I try my best to put the phone up. I don’t want that blue light on me. I wash my face, brush my teeth, get in bed and I’ll have the book of the century — whatever I’m reading — right next to the bed and my glasses.

I look forward to this time cause you know where you left off, whether it’s a novel or an autobiography, and you’re like, I wonder what happened there? I always have to make sure I leave at a good spot. I’m the guy who gets sad at the end of a book. The same way people feel about streaming when you’ve gone through all 10 episodes. I’m reading a book called “The Weight of Air” by this guy named David Poses. Oh, my God. He was addicted to heroin for years and was in and out of rehab. It’s fascinating because he’s so transparent and it just inspires me to be that vulnerable.

It was Jasmine Benjamin’s friend, the gallerist Jeffrey Deitch, who persuaded her she needed to make a book about L.A. style. From her early days going to shows and working the door at parties to her many years hustling as a stylist, Benjamin knew everyone — designers, skaters, musicians. She was fluent in the visual language that made up the city, knew its subcultures and neighborhoods like the back of her hand. In the intro to her new book, “City of Angels: A Book About L.A. Style,” Benjamin writes: “What happens in Los Angeles does not stay in Los Angeles,” referencing the immeasurable and often uncredited influence L.A. has had on fashion and culture around the world. Benjamin cites Alessandro Michele’s Gucci and Hedi Slimane’s Celine as just two of the many fashion houses who have drawn from L.A. culture in the last few years alone. Alongside a map of L.A. designed by artist Sickid that includes La Cita and the Troubadour, “City of Angels” features a foreword by British Vogue editor Chioma Nnadi: “I have Jasmine Benjamin to thank for opening my eyes to the city. … Standing in the middle of the crowd at a small music festival on the Eastside, and I couldn’t help but stop and stare: the kids here dressed with so much verve, pulling from a smorgasbord of sartorial references — skate, surf, goth, you name it. I was totally spellbound.”

Pia Davis and Autumn Randolph of No Sesso.

Sonya Sombreuil of Come Tees.

It was important to Benjamin that “City of Angels” be captured through her lens, marking her debut as a first-time photographer. She shot 124 photographs of L.A. icons in front of meaningful locations — from Tropical Juice in Highland Park to the Jewelry District — inspired by the format of old Japanese street-style shots in Fruits magazine. Flipping through “City of Angels” feels like going through the ultimate L.A. yearbook, where everybody wins “best dressed.” Part of the excitement is spotting how many people you know, charting L.A.’s creative communities as an interconnected web. There is a feeling that arises seeing this patchwork of faces in print: These are the artists, designers, musicians of our time — from Barrington Darius to Sonya Sombreuil, from YG to Isabelle Albuquerque, Pia Davis and Autumn Randolph to Lee Spielman, Lauren Halsey to Guadalupe Rosales. The list goes on.

With “City of Angels” the world is invited to understand that L.A. style has never just been about the clothes. It’s about the way people move here, the way they contribute to the city and each other.

Julissa James: I saw Jay 305 after the Vogue piece on your book came out. He was holding court at Canyon Coffee and was like, “Did you see my picture in Vogue?” He was so excited.

Jasmine Benjamin: I love that you just said that. There are so many reasons why I wanted to do this book, but that’s one of the reasons: For someone to uplift these people and this point of view. Everyone in L.A. knows Jay 305. He’s the flyest. He has so much charisma. He’s super around the way. I didn’t tell Vogue to pick him, but of course they picked him.

JJ: How did this book come about? I know that you are a collector of books and coffee-table books in general. I’m wondering, were you looking at your collection thinking, “Something like this is missing.”

JB: I am a lover of books and media because I came up before social media, so magazines were the most important thing. That’s how you figure out who’s at the parties — you look at a magazine. So archiving is important, but I do have to always make sure that I highlight Jeffrey Deitch, because he’s my friend, and he is the one who put this in my ear. He was just like, “You should do a book. You’re really smart, you have great taste and you have the most diverse group of communities that you know in L.A. that really represent L.A. You should do a book about L.A. style.”

JJ: I know that so many people featured in the book came from a natural connection. Can you tell me a little bit about your history and background in L.A., and how you got to know so many of these people in creative circles?

JB: I moved to L.A. in 2002 to go to FIDM. I had a roommate and my roommate’s cousin was friends with this girl. Literally, the first place they ever took me to was Leimert Park with [filmmaker and artist] Kahlil Joseph and his girlfriend. It was to a party called “Juju.” That’s back in 2002 or 2003. I was so lucky to have the first point be a local thing, and not just get caught up in the craziness of the Hollywood industry. Then I was interning in Interscope Records and going to shows. Then I was working the door at these speakeasies that were really important back then, called Temple Bar and Zanzibar. Everybody was there — Flying Lotus, Miguel, Thundercat, J*Davey, all those people. But they were babies! I was a baby.

JJ: How did you go about casting?

JB: I did start with putting an Excel sheet together of every single person that I thought should be in it, whether I knew them or not. Getting my Virgo moon and rising in gear. From that, I’d be like, “OK, who’s missing? What cultures am I not getting? Who do I know in those places, and what are the cultures that I want represented that I think are Los Angeles?” The first time I did it, I probably had 80 people I wrote down. The book is 124 [people].

JJ: What strikes me also — I know it’s a book about L.A. style, and the subject is front and center — but it also almost feels like an archive of the city.

JB: This is my first book, so I had an intention of what I wanted it to be from the beginning, but at the end, when I was putting it all together, I was like, “You know what? The book really is about the style, the people and the places.” A lot of these places that I shoot at with people, they mean something to me too. I also felt like I had to do this because I don’t know how long the regional style is going to stay with us because of the internet. Also people were dying, like Spanto. He’s been a friend of mine for many years. The urgency was just [building] more and more because of all the things that were happening in Los Angeles. I had to capture L.A. the way that I see L.A., the way I experience it, and how I love it, forever.

Lauren London.

Spoety.

Nathaniel Santos.

Duckwrth.

JJ: You talked about regional L.A. style. If you had to put some words to what that is, what would they be?

JB: I would always say classics and workwear — because that style, those two things, exist literally in every type of different subculture. They’re wearing it in their own way. When I say classics I mean white tees, dress shoes, denim. Dickies forever, canvas shoes. Those things are part of Los Angeles [style] no matter your age, economic background, race or gender.

JJ: You put together this book over the course of years. Are there any specific stories or interactions you had while making the book that stand out in your memory?

2Tone, left, and Spanto of Born X Raised.

JB: When I look at the photos, I can remember almost everything that happened that day. Definitely taking Spanto and Alex [2Tone]’s photo at the park, because it was just a normal day with Spanto. Nobody loves L.A. more than Spanto. I remember when I took the photo, I was still really early on taking photos, and I didn’t have my memory card in the camera. I only got one photo. They were like, ‘Well, we’re gonna be down the street at Alex’s, so you can just go home and get your memory card’ — because I lived close by — and I went and took more photos. But guess what ended up being the photo? The first photo. Another really great one was talking to YG — he is so enthusiastic and very intelligent and well-studied when it comes to Los Angeles style. I also loved talking to the [Polio] twins. I’ve known them for so many years, from shopping at Opening Ceremony or parties. When I came to their neighborhood, they were like, “We can’t believe you came to our neighborhood.” And I was like, “This is the whole point of the book!” They were just so kind to me. Barrington Darius on the block his entire family grew up on in Watts for almost 70 years. Even Jesse Jo Stark. Jesse’s a part of the conversation — L.A. girl, fashion royalty. Now we’re just friends forever.

JJ: Why do we need a book like this in the world?

JB: It’s way overdue. L.A. needs its own visual survey of what people look like that live here, not just work here.

Jesse Jo Stark.

Laura Harrier.

Daniela Barraza a.k.a. Dani.

Drewbyrd.

Boo Johnson.

Sandy Kim.

Annahstasia Enuke.

Andrew Dryden and Joseph Quinones of Departamento.

Shannon Johnson.

Bailey Quinones.

Johnny Valencia.

Lex Cabral-Orozco.

Suddenly, it’s 2024 all over again.

Once more we’re litigating Joe Biden’s catatonic debate performance, his lumbering gait, his moth-eaten memory and his selfish delusion he deserved a second term in the White House while shuffling through his ninth decade on earth.

Biden’s abrupt announcement he faces an advanced form of prostate cancer has only served to increase speculation over what the president’s inner circle knew, and when they knew it.

“Original Sin,” a book by journalists Jake Tapper and Alex Thompson, published this week, is chock-full of anecdotes illustrating the lengths to which Biden’s family and palace guard worked to shield his mental and physical lapses from voters.

John Robert Greene is not at all surprised.

“It’s old news, hiding presidential illness,” said Greene, who’s written a shelf full of books on presidents and the presidency. “I can’t think of too many … who’ve been the picture of health.”

Before we go further, let’s state for the record this in no way condones the actions of Biden and his political enablers. To be clear, let’s repeat it in capital letters: WHAT BIDEN AND HIS HANDLERS DID WAS WRONG.

But, as Greene states, it was not unprecedented or terribly unusual. History abounds with examples of presidential maladies being minimized, or kept secret.

Grover Cleveland underwent surgery for oral cancer on a yacht in New York Harbor to keep his condition from being widely known. Woodrow Wilson suffered a debilitating stroke, a fact covered up by his wife and confidants, who exercised extraordinary power in his stead.

Franklin D. Roosevelt and John F. Kennedy both suffered serious, chronic ailments that were kept well away from the public eye.

Those surrounding Ronald Reagan downplayed his injuries after a 1981 assassination attempt, and the Trump administration misled the public about the seriousness of the president’s condition after he was diagnosed with COVID-19 a month before the 2020 election.

The capacity to misdirect, in Biden’s case, or mislead, as happened under Trump, illustrates one of the magical features of the White House: the ability of a president to conceal himself in plain sight.

“When you’re in the presidency, there is nothing that you can’t hide for awhile,” Greene, an emeritus history professor at Cazenovia College, said from his home in upstate New York. “You’ve got everything at your disposal to live a completely hidden double life, if you want. Everything from the Secret Service to the bubble of the White House.”

Greene likened the Neoclassical mansion at 1600 Pennsylvania Ave. to a giant fish bowl — one that is painted from the inside. It’s highly visible, but you can’t really see what’s happening in the interior.

That deflates the notion there was some grand media conspiracy to prop Biden up. (Sorry, haters.)

Yes, detractors will say it was plain as the dawning day that Biden was demented, diminished and obviously not up to the job of the presidency. Today, Trump’s critics say the same sort of thing about him; from their armchairs, they even deliver quite specific diagnoses: He suffers dementia, or Alzheimer’s or Parkinson’s disease.

That doesn’t make it so.

“It’s a very politicized process. People see what they want to see,” said Jacob Appel, a professor of psychiatry and medical education at the Icahn School of Medicine in New York City, who’s writing a book on presidential health.

“You can watch videotapes of Ronald Reagan in 1987,” Appel said, “and, depending on your view of him. you can see him as sharp and funny as ever, or being on the cusp of dementia.” (Five years after leaving the White House, Reagan — then 83 — announced he was in the early stages of Alzheimer’s disease.)

To an uncomfortable degree, those covering the White House — and, by extension, the public they serve — are forced to rely on whatever the White House chooses to reveal.

“I don’t have subpoena power,” Tapper told The Times’ Stephen Battaglio, saying he would have eagerly published the details contained in his new book had sources been willing to come forth while Biden was still in power. “We were just lied to over and over again.”

It hasn’t always been that way.

In September 1955, during his first term, President Dwight D. Eisenhower suffered a heart attack while on a golf vacation in Denver. “”It was sudden,” said Jim Newton, an Eisenhower biographer. “One minute he’s fine and the next minute he was flat on his back, quite literally.”

The details surrounding Eisenhower’s immediate treatment remain a mystery, though Newton suggests that may have had more do with protecting his personal physician, who misdiagnosed the heart attack as a bout of indigestion, than a purposeful attempt to mislead the public.

From then on, the White House was forthcoming — offering daily reports on what Eisenhower ate, his blood pressure, the results of various tests — to a point that it embarrassed the president. (Among the information released was an accounting of Ike’s bowel movements.)

“They were self-consciously transparent,” Newton said. “The White House looked to the Wilson example as something not to emulate.”

Less than 14 months later, Eisenhower had sufficiently recovered — and voters had enough faith in his well-being — that he won his second term in a landslide.

But that 70-year-old example is a notable exception.

As long as there are White House staffers, campaign advisers, political strategists and family members, presidents will be surrounded by people with an incentive to downplay, minimize or obfuscate any physical or mental maladies they face while in office.

All we can do is wait — years, decades — for the truth to come out. And, in the meantime, hope for the best.

In March 2024, I wrote a column about President Biden’s State of the Union speech with a confident headline that made perfect sense to me at the time: “Chill out, my fellow Americans. Your president isn’t cognitively impaired.”

Boy was I wrong. For months, critics and supporters had been raising pointed questions about the president’s physical health and intellectual acuity. Had he won the November election, after all, he would have been the oldest president in American history. (Since he lost, that honor goes to the current White House occupant.) But during his hourlong speech to Congress, Biden had sparred repeatedly with Republican hecklers. He was on his game. Democrats were relieved.

Having watched Trump raise spurious questions during the 2016 campaign about Hillary Clinton’s health —particularly after she was visibly ill at a 9/11 ceremony in Manhattan — I thought Republicans were harping on the issue of Biden’s age more as a tactic than anything else. It was a good distraction, considering that his opponent, then-former President Trump, was only a few years younger and given to rambling incoherence himself.

Republicans may have exaggerated Biden’s issues, but they were, as we soon learned, in the main, correct. By the time the president stood slack-jawed and confused on a debate stage with Trump only three months after his triumphant State of the Union address, it was clear that something was very, very wrong. The debate stage can be a cruel place, and with no prepared speech loaded onto a teleprompter, Biden was suddenly naked in the spotlight. It was not a pretty sight, and suddenly, he was no longer a tenable presidential candidate.

But why are we talking about this old news when we have a president flouting every ethical norm of his office, wantonly violating the Constitution and cozying up to murderous dictators such as Mohammed bin Salman, the Saudi crown prince whom the CIA concluded had ordered the 2018 killing and dismemberment of Washington Post columnist and Saudi dissident Jamal Khashoggi?

Biden is back in the news thanks to “Original Sin: President Biden’s Decline, Its Cover-Up, and His Disastrous Choice to Run Again,” by longtime CNN anchor Jake Tapper and Axios White House correspondent Alex Thompson. The book, whose subtitle says it all, has been excerpted in the New Yorker and reviewed by other publications. Its publication date is Tuesday.

I tried to get my hands on a copy, but the publishing house blew me off.

In any case, so much of the book’s insider information has been made available that it is possible to make a convincing case, even from a distance, that Biden’s insistence on running for a second term, despite his promise to be a one-term “bridge,” and his belated decision to drop out, is how we got to where we are today: in the grip of a chaotic, despotic self-dealing president who is turning the Constitution on its head.

Heckuva job, Joe!

I was as surprised as anyone that Biden became the nominee in 2020. I recall watching him stump in Iowa, certain that he was too old for the job. Onstage, he was shouty, his voice rising and falling for no particular reason — “mistaking volume for passion,” as I wrote back then.

And yet, for all his faults, gaffes and frailties, I would still prefer an impaired Biden to the corrupt felon who currently occupies the Oval Office.

Those who have read “Original Sin” say that it does not contain any bombshells. What it offers is a detailed account of the systematic effort by family and advisors to conceal the truth from the American people, and calls out the cowardly Democratic leaders who knew Biden was not up to a second term but were afraid to cross him.

As the Washington Post put it in its review: “The book is a damning account of an elderly, egotistical president shielded from reality by a slavish coterie of loyalists and family members united by a shared, seemingly ironclad sense of denial and a determination to smear anyone who dared to question the president’s fitness for office as a threat to the republic covertly working on behalf of Trump.”

Co-author Thompson, as it happens, was one of the few mainstream political journalists to aggressively report on Biden’s worsening condition and the struggle — you might even call it gaslighting — to keep it from the public.

For that, the White House Correspondents’ Assn. awarded him its top honor in April. In his acceptance speech, Thompson was unflinching.

“President Biden’s decline and its cover-up by the people around him is a reminder that every White House, regardless of party, is capable of deception,” he said. “But being truth tellers also means telling the truth about ourselves. We, myself included, missed a lot of this story, and some people trust us less because of it. We bear some responsibility for faith in the media being at such lows. … We should have done better.”

I take his point. We are now living with the consequences of our failures.

@rabcarian.bsky.social and @rabcarian

A Which? travel expert has explained why you should always have your phone nearby when you’re booking a holiday

Most people have a checklist of items they’ll gather before booking a holiday, such as a calendar, a credit card, and a laptop. However, holidaymakers should also make sure they have a phone to hand when searching for deals.

A travel expert has revealed people should never book a holiday without a phone nearby or risk paying more than they need to. The tip was shared on TikTok by a Which? travel expert in a video on the consumer champion’s TikTok page.

In the Which? video, the expert said: “I would never book a hotel on a computer without checking the price on my mobile phone first.” She explained: “We slashed £270 off the price of an apartment in Amsterdam on Booking.com, and we saved almost £100 on a weekend in Florence with Expedia, just by booking a mobile exclusive.”

As such, it could pay off to check for deals using a phone before hitting checkout on a laptop. It wasn’t the only tip the expert shared to benefit holidaymakers. She also said she would never book a flight with an online travel agent without checking the cost with the airline first.

“Although online travel agents appear to be cheaper, they tend to whack up the prices of extras, such as bags and seats,” she reasoned. “If you need those, it might be cheaper just to go with the airline directly.”

Additionally, when making your booking, the expert said not to pay to sit with travel companions when flying with Jet2 or BA. She told viewers: “Jet2 and BA told us that they’ll always try to seat groups together where possible, but Wizz Air and Ryanair are more likely to split you up unless you pay to sit together.”

According to the pro, booking car hire excess insurance with the hire company is another common mistake. Instead, she recommended booking with a third party before you go, which should work out cheaper.

Similarly, she advises against changing money at the airport as the exchange rates are “notoriously terrible.” As such, it pays off to be prepared and change money before departure.

When changing money, Which? recommends shopping around. Advice on the Which? website says: “Not all bureaux de change will use the same money exchange rates or charging structures. Some impose a fee when you buy foreign currency, while others don’t – so you must consider the total cost of changing your cash before handing it over.

“This is simpler than it sounds; just ask exactly how much foreign currency you will get from each outlet in return for the pounds sterling you are seeking to exchange.

“It’s worth comparing the deals on offer from several companies before changing your money, and you may also want to steer clear of high street banks. Which? research shows banks typically fail to offer the best exchange rates and may only offer currency exchange services to existing customers.”

Jake Tapper and Alex Thompson’s superbly reported “Original Sin: President Biden’s Decline, Its Cover-Up, and His Disastrous Choice to Run Again” reads like a Shakespearean drama on steroids. During his latter years as No. 46, Biden is portrayed as a lion in winter — shockingly frail and forgetful with a ferocious pride that blinds him to the fact that it’s time to exit the stage. He was assisted in that delusion, the authors claim, by the mythology his family erected around him — that he was indestructible — and by his zealously protective inner circle, dubbed “the Politburo.”

Though Tapper and Thompson’s mostly anonymous sources (it’s jarring that so few went on the record) suggest that the first disturbing signs of Biden’s diminished capacities emerged as early as 2015, many around him chalked them up to the “Bidenness” of it all: “He was known on the Hill for being congenitally prone to long stories, gaffes, and inappropriate comments,” the authors observe. “Even in tightly choreographed Zoom calls with friendly audiences, Biden could step on a rake.”

That propensity appeared to morph into something more worrisome even before Biden was elected president. An unnamed Democrat who witnessed candidate Biden being prepped for a taping prior to the 2020 convention in Milwaukee was startled by his incoherence, commenting that it “was like watching Grandpa who shouldn’t be driving.” Once in office, the White House staff “treated him as very delicate,” and the pandemic gave aides an excuse to build “barriers” around him so few could gain access. The news media and public were kept at arm’s length, as were many members of the Cabinet and Congress, which led to a “uniquely small and loyal inner circle.” “I’ve never seen a situation like this before, with so few people having so much power,” said one unidentified top official.

That elite quintet consisted of domestic policy advisor Bruce Reed, chief strategist Mike Donilon, legislative affairs guru Steve Ricchetti and chief of staff Ron Klain, each of whom had deep ties to Biden. “Five people were running the country, and Joe Biden was at best a senior member of the board,” offered one person familiar with the dynamic. As time went on and more grew concerned about Biden’s behavior, those who inquired were routinely told that everything was okay. One staffer who didn’t have regular access to Biden during this period said that when they did see him in person, they were “shocked, but the other people around him didn’t seem to be, so I didn’t say anything.”

It wasn’t until around the time Biden broke his one-term pledge to be a “bridge” president and made clear he intended to run again that some began to feel a sense of alarm. For example, in 2023, Congressman Mike Quigley (D-Ill.) was with Biden when he visited Ireland. Biden seemed to gain strength from the crowds that greeted him, but then appeared “sapped and not quite there.” The authors write that Quigley “realized why this all felt so familiar to him … This was how his father, Bill, had been before he died.” Similarly, Minnesota Congressman Dean Phillips was so disturbed by Biden’s reduced “speaking and walking skills” that he pressed Democratic officials as to whether the president was up to the job. Even those who admitted to having concerns offered the “yes, but,” as in, “Yes, Biden is in decline but can you imagine Trump winning?” Phillips could imagine such a scenario, “especially if Biden were the Democratic nominee.” Failing to get anyone to take his worries seriously, he declared his own candidacy. But “the whale who spouts gets harpooned,” Phillips later noted after the “Democratic machine” set out to quash his chances. He reluctantly pulled out of the race and “watched his party sleepwalk toward disaster.”

Alex Thompson, left, and Jake Tapper argue that there was a conspiracy to conceal President Biden’s “cognitive diminishment” from the press, public and top Democrats.

(Elliott O’Donovan)

Though some top Democratic supporters such as Hollywood mogul Ari Emanuel refused to support Biden’s bid for reelection — even shouting at Klain during a “power-player retreat” that, “Joe Biden cannot run for reelection! He needs to drop out!” — most remained in the president’s corner until his disastrous debate performance in late June 2024. Following that, the slow drip of Biden allies calling for him to withdraw became a downpour, with even loyalists like George Clooney remarking publicly in an op-ed that while he “loved” Joe Biden, “the one battle he cannot win is the fight against time.”

Was there a conspiracy to conceal Biden’s symptoms from the press, public and top Democrats? The authors conclude there was. “The original sin of Election 2024,” they write, “was Biden’s decision to run for reelection — followed by aggressive efforts to hide his cognitive diminishment.” The course Biden’s family and inner circle chose was tantamount to “gaslighting the American people.” Many other key Democratic officials and donors simply felt that even a weakened Biden was the best bet against the “existential threat” posed by Trump, until the debate shattered that rationalization. In any case, Biden allies “who voiced fears were flicked away like lint.”

In the end, I’m not convinced there was a coordinated campaign to hide the truth about Biden’s “condition,” but maybe that doesn’t matter. In the book’s final chapter, the authors quote former Watergate special prosecutor and law professor Archibald Cox on what lessons Americans should take away from the Watergate scandal. He observes that “we should be reminded of the corrupt influence of great power. … Perhaps it is inescapable that modern government vests extraordinary power in the President and puts around him a large circle of men and women whose personal status and satisfaction depends entirely on pleasing one man.”

But Biden isn’t Nixon. He is a man who generated intense love and loyalty, whose life has been filled with tragedy as well as opportunity; who adeptly and passionately served his country for decades. “Original Sin” is not a compassionate account of Biden’s last campaign — at times it’s even a painful, if necessary, piece of journalism. A great takeaway from 2024, according to political strategist David Plouffe, is that “never again can we as a party suggest to people that what they’re seeing is not true.” We don’t know if Trump could have been defeated had Biden opted not to run. But in the future, we can’t afford to be in denial.

Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Denise McKinney says she has probably somewhere close to half a million matchbooks tucked away inside her Riverside home.

She’s been collecting for years and will typically pick up whatever strikes her fancy, no pun intended. She has specialties now, like matchbooks with animals on them or matchbooks that advertise radio and TV stations, but she says her biggest collection by far is books from Southern California, including vintage motel matchbooks.

The motel turns 100. Explore the state’s best roadside havens — and the coolest stops along the way.

The president of the Angelus Matchcover Club says she likes matchbooks because of how they reflect a region’s history. She’s grabbed books that tout Route 66 attractions or places from her Orange County hometown.

Matchbook collectors Olivia Frescura, Robert Donnelson, Denise McKinney and Cheryl Crill.

(Amanda Villegas / For The Times)

This year marks the 100th anniversary of the motel, a concept that originated with the Milestone Mo-Tel in San Luis Obispo (later renamed the Motel Inn). Though it didn’t become widely known until after World War II, “motel” is essentially a portmanteau for “motor hotel,” or a lodging place where the rooms could be entered through the parking lot rather than through a central lobby.

To get travelers in the door, motels used gimmicks to stand out among the stiff competition, like neon signs and themed decor, but also promotional materials like free postcards and pocket-sized matchbooks. With the 100th anniversary in mind, we wanted to look back at some of Southern California’s motel history as seen through collectors’ matchbooks. These books represent just a small fraction of the thousands of motels that have operated in the region but are a great place to start.

MEGHAN Markle and a beanie-clad Prince Harry have boasted about attending a hugely famous singer-songwriter’s gig – and even left with a signed book.

The pair, which included a beanie-wearing Harry, even took a photograph with the singer.

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The actress was pictured with music icon James Taylor – the hitmaker behind tracks including You’ve Got a Friend and Fire and Rain.

Meghan posted a picture with the singer which she captioned: “in my concert era. Thanks James!”

She included a snap of herself and Harry with James, alongside the singer’s brother Henry Taylor.

Meghan also posted a picture of the Prince and the singer standing together.

Harry wore a simple grey beanie, covering up his famous red hair, and an understated grey jacket.

In another picture, Meghan even revealed that she was given a signed book from the famous songster.

Entitled Sweet Baby James – which is also the title of one of the singer’s hit albums – the book contains illustrated pop-up designs and sells for $25.

James is currently on tour in the United States with his special guest Tiny Habits.

Meghan posted a picture from the crowd at his concert in Santa Barbara, California, on May 14 – one of the earliest dates on the tour.

The actress and her husband have made headlines in recent months, after rumours emerged which claimed they were embroiled in the Beckham’s widely reported feud.

According to an insider, Nicola Peltz and her husband Brooklyn Beckham dined at the Sussex’s home.

The source said: “Harry and Meghan were very empathetic and very kind to them both.

“Harry was fully aware of the situation and offered Brooklyn his unwavering support as someone who has been through similar.”

Inside Meghan Markle’s extravagant garden at £12million mansion – with private swimming pool & koi fish pond

By Becky Pemberton

MEGHAN Markle and Prince Harry relocated from Britain to buy a swanky £12million mansion in California in 2020.

But while the nine-bedroom pad looks every inch an A-list retreat, their beautiful grounds are the true showstoppers of the property.

From a private swimming pool to a koi fish pond and tennis courts, it is clear to see why the Duke and Duchess of Sussex love their new Montecito bolthole.

There is even a chicken coop, a slip and slide, and playground for Prince Archie, six, and Princess Lilibet, three.

The outdoor adventure area has slides, swings, a climbing frame, climbing wall, helter skelter and other fun obstacle courses.

And we’ve already seen a sneak peek at their garden playhouse, when the Sussexes shared a painting of them outside for their 2020 Christmas card.

The Sussex brood have five acres of land surrounding their Santa Barbara mansion, so it looks perfect for Lilibet and Archie to enjoy.

Meghan and Prince Harry gave Oprah Winfrey the grand tour of their mansion and revealed they have rescue chickens from a factory farm.

The couple walked the talk show host to their coop – a home to rescued chickens.

Brooklyn had shunned all of David’s 50th birthday celebrations, sparking rumours of a feud.

David is said to be “heartbroken” by the rift with his son, which has been described as Victoria’s “worst nightmare”.

The Sussexes’ dinner with Brooklyn and his wife took place at their home in Montecito – where they live with Archie and Lilibet.

The home is valued at £12 million and has nine-bedrooms, as well as a whimsical koi fish pond.

Harry and Meghan’s house also has a lavish swimming pool and a tennis court, alongside a private playground for their children.

Home Improvement expert Justin Nielsen, from Wolf River Electric, estimates that the property will need around 10 to 15 staff members to keep it in tip top condition.

He added: “Given the array of features, including a swimming pool, tennis court, koi pond, children’s playhouse, and chicken coop, the annual upkeep costs could easily reach between £150,000 and £250,000.

“This estimate accounts for landscaping, utilities, specialised care for the koi fish, and general maintenance.”

There’s an oft-repeated Disneyland creation myth: Artist and animation art director Herb Ryman was given 48 hours to draw an early, heavily detailed and romanticized map of the theme park, which would be used to help sell the project to investors. Although that’s all true, Ryman’s work — one of the most famous and important Disneyland drawings — was far from the first map of Disneyland, as it is often colloquially referred to.

Ryman’s work was in fact an iteration of sorts, based upon years of master planning from Walt Disney and early collaborator Marvin Davis, a cinematic art director responsible for much of Disneyland’s early designs. Some never-before-seen work of Davis and other Disneyland designers will be unearthed in the new book “The Happiest Place On Earth,” from animation producer Don Hahn and theme park designer Christopher Merritt. Both Hahn and Merritt have over the years morphed into theme-park historians, and the book is being released July 15 to coincide with Disneyland’s 70th anniversary.

“Marvin Davis claimed that, as he sat there, probably in a room by himself at the studio with Walt standing over him poking him in the shoulder, he did 133 revisions of these maps to get to the Disneyland layout by 1955,” Merritt says. “A few of these maps have been shown before but a lot of these have not been seen before.”

The archives at Walt Disney Imagineering, the secretive division of the company responsible for theme-park experiences. Found in the archives were multiple maps from Marvin Davis that explore Disneyland’s roots.

(Walt Disney Co.)

The book will trace the development of Disneyland, starting in the early ’50s when Disney flirted with the idea of placing the park next to the studio in Burbank — concepts drawn by Harper Goff — to many of Davis’ gradual advancements of the theme-park form. Study them, and they reveal how many of Disneyland’s core ideas were in place by the early 1950s, although they morphed. Alice in Wonderland, for instance, was once envisioned as a walk-through attraction, to be placed across the way from an archery in Fantasyland.

Hahn makes the case that many of the early seeds for Disneyland were planted during a 1948 trip that Disney and animator Ward Kimball took to Chicago. There, the two attended the Chicago Railroad Fair, which had, among its attractions, Abraham Lincoln reenactments and a re-creation of a frontier town.

“His first memo he did when he got home from the Chicago Railroad Fair was all about trying to create these certain regions,” Hahn says. “If you look at the early Burbank parks, there was a western village, there was a stagecoach, there was a railroad station, there was a Tom Sawyer-ish island. A lot of those things came from the Railroad Fair.”

And there was a lot of early experimentation and many a discarded idea. One of Merritt’s favorite rejected concepts was a Tomorrowland exhibition dedicated to hunting for uranium. The attraction has been referenced by Disney and others over the years as a “lost” attraction, but “The Happiest Place on Earth” will feature some never-before-seen concept art from Imagineer Claude Coats.

“Uranium Hunt was an attraction strangely enough to be placed in Tomorrowland, although Claude designed it with Southwestern rock work,” Merritt says. “It was kind of outside rock maze, and the idea was they would hand you Geiger counters, and there was going to be real radioactive uranium embedded in the rock work that you would measure. In the end, they would give you a souvenir uranium to take home with you, which is just crazy-pants.”

Not all of the early Disneyland ideas are as outlandish. What follows are a few of the maps — and some early designs — that led to what would become Disneyland as we know it today.

Early sketches reveal an opera house, general store and more

A Harper Goff-drawn concept for a Disney theme park in Burbank. This is believed to have been drawn in 1951.

(Walt Disney Co.)

An early 1950s sketch layout of Disneyland, focusing on merchandising outlets.

(Walt Disney Co.)

Disney first considered a theme park across from its studios in Burbank, land that is today occupied by Walt Disney Animation Studios and the West Coast headquarters of ABC. The idea, in its early conceptions, included much of what would later make its way to Disneyland — a train, a steamboat and less detailed versions of Main Street and a Frontierland.

Of particular note here is the second photo, unearthed in “The Happiest Place on Earth” for the first time. The focus is on merchandising locations, but those who study the image will spy an opera house and a general store, believed to be the first time such concepts appear. There’s also a spaceport, a haunted house and a re-creation of London’s Tower Bridge. Shops are said to be themed to properties such as “Cinderella” and “Pinocchio.”

“It shows the holistic thinking, too, of not just the attractions but commerce,” Hahn says. “Where the stores would be, where the cafes would be, and kind of a guest-experience mentality. That was a real theme-park innovation, where you’re transported in time to Frontierland but the food and the costumes add up to Frontierland as well. You see the beginnings of that in a map like this.”

The beginnings of Frontierland and the Storybook Land Canal Boats

An early Disneyland map drawn by Marvin Davis. This map was likely drawn around 1953.

(Walt Disney Co.)

These early Disneyland schematics from Davis begin to capture Disneyland’s “hub” idea, that is, a central area that leads to and from its themed spaces. There’s a large theater space, believed to be designed in the hopes of Disneyland becoming a television production locale, and a significant plot dedicated to a river with surrounding attractions — the map calls for a space for otters, as well as a swamp area.

The Frontierland concept is still present, complete with a pony ranch and a stagecoach, as is a haunted house and a land themed to miniatures, a concept that would ultimately become the Storybook Land Canal Boats. Merritt notes that this design is location-agnostic, as Anaheim had not yet been decided upon for Disneyland.

Of particular note here is an introductory land like a Main Street, U.S.A., leading to a central hub. “These maps are revelatory when you look at them all in sequence,” Merritt says.

Davis’ early maps also highlight a residential street with large Victorian homes. The second image, in particular, mentions a town hall and a church. Hahn and Merritt believe this land was heavily influenced by the look and tone of “Lady and the Tramp.”

Main Street starts to materialize

An early Harper Goff design that influenced the look of Frontierland.

(Walt Disney Co.)

Some early Harper Goff designs for what would become Disneyland.

(Walt Disney Co.)

Early Disneyland concept art from Harper Goff

(Walt Disney Co.)

These, says Merritt, are a selection 1951 drawings from Harper Goff. The work is exploratory, in that it could have been envisioned for multiple parts of the park. While Goff’s impact on Frontierland is well documented — and Hahn notes, perhaps, an influence from Knott’s Berry Farm’s Ghost Town in these images — it’s also believed some of these designs were kicked around as a potential Main Street, U.S.A., concept.

Main Street, says Hahn, is often noted as being largely influenced by Disney’s time as a child in Marceline, Mo. While that isn’t really doubted these days among Disney’s fan base, Hahn says that theory wasn’t arrived upon immediately. He notes that some of Goff’s early concept work has a slight Victorian bent, which Goff drew from both “Lady and the Tramp” and his own childhood.

“It’s really the childhood of nobody,” Hahn says of Main Street. “It’s an idealized America. Goff grew up in Colorado, and a lot of these are his Victorian memories of his Colorado hometown. These are set designers who were bringing their movie chops to Disneyland.”

Welcome to the park’s destination: Anaheim

A pivotal early Disneyland map drawn by Marvin Davis.

(Walt Disney Co. )

Merritt and Hahn believe this third early schematic of Disneyland from Davis — the drawing is undated — is perhaps the first to envision Anaheim as the park’s destination. The image needs only to be rotated and one can see many of the pieces that would comprise the park — a Main Street, a central hub and, for the first time since Goff’s drawings of the Burbank park, a train that encircles the grounds.

Zoom in, and one will see there’s a large “emporium” to greet guests — and shoppers — on Main Street, U.S.A., as well as a castle-like moat to mark the entrance to Fantasyland. Still present are TV production spaces at the front of the park, and the map lists a host of attractions, including a horse-drawn carriage, train rides and boat rides.

Maps begin to show the Disneyland attractions we know today

A fall 1953 map of Disneyland from Marvin Davis.

(Walt Disney Co.)

A September 1953 map of Disneyland from Marvin Davis.

(Walt Disney Co.)

A September 1953 map of Disneyland from Marvin Davis.

(Walt Disney Co.)

These three Davis maps are from September 1953, made just days apart. The bottom drawing is a bit more simplified, as it was designed to be shown to TV networks and financiers. One can see a ride inspired by Disney’s “True-Life Adventures” on the right side of the park. This would ultimately become the Jungle Cruise and be flipped to the left side of the park.

All three maps, however, were instrumental in the final design of Disneyland, envisioning Anaheim as the ultimate destination. Of note in the middle image is a Recreation Land, home to a ball field, a mini-golf course and a bandstand. At this time, Disneyland was still envisioned as housing a circus, a concept that was explored in the actual park after opening but soon discarded. Yet Fantasyland, a Land of Tomorrow, Frontierland and what would become Adventureland are all present.

Fantasyland is home in these drawings to attractions themed to “Snow White and the Seven Dwarfs,” “Peter Pan,” “Alice in Wonderland,” Pinocchio” (denoted as Pleasure Island) and “Fantasia.” Also present is what would become Autopia, signifying that Disneyland in late 1953 had many of its early attractions solidified. Still, many, such as a Mother Goose area, would pop-up and then disappear from the maps.

Says Merritt, “You’re going to want to get your magnifying glass to look at some of this stuff.”

There are very few recorded interviews with Dame Agatha Christie, the world’s bestselling novelist and generally acknowledged doyenne of crime, for one simple reason: She hated speaking in public.

She often described herself as cripplingly shy — she agonized for days when a celebration for the 10th anniversary of her play “The Mousetrap” required her to give a speech — and she remained morbidly press-adverse after the media swarm that followed her famous 11-day disappearance. (Though in defense of the press, what could one expect when a notable crime writer goes missing for almost two weeks in the midst of a shattering divorce and then, when found, refuses to explain what had happened?)

In her autobiography, and through her literary avatar Ariadne Oliver, Christie often described taking great pains to avoid speaking in front of people and she (and Mrs. Oliver) particularly hated being asked questions about her writing. “I never know what to say,” Mrs. Oliver would wail, echoing sentiments expressed by Christie herself.

So when BBC Maestro announced, at the end of April, that it was launching a digital class in which an AI-resurrected Christie would offer lessons in writing, it was difficult not to be outraged. Never mind the whole “I see dead people”-ness of it all; here was a woman who was on record, multiple times and often at great length, about how much she loathed having to talk about how she did what she did in front of a bunch of people.

The creators of the series clearly anticipated such outrage. The prologue to the course features BBC Maestro Chief Executive Michael Levine and Christie’s great-grandson James Prichard, chairman and CEO of Agatha Christie Ltd., explaining the care put into the series. The script, we are assured, is rigorously based on Christie’s own words; the actor (Vivien Keene) was chosen after a year-and-a-half search; and the set (a library that houses a model of Christie’s own typewriter), the costume (a tweed suit accented by pearls, a brooch and duplicates of Christie’s engagement and wedding rings) and the hair are models of authenticity.

More important, the course has the family’s full support. “At the heart of this project was my father who knew Agatha Christie better than any person living,” Prichard says. “At times he was astounded by how similar to his grandmother this version was. And my view,” he adds with a mildly challenging air, “is that if he can enjoy this project, we can all enjoy it.”

Agatha Christie autographing French editions of her books, circa 1950.

(Hulton Archive / Getty Images)

Challenge accepted.

Keeping in mind Christie’s fascination with disguise and advanced technology, as well as a passage in her autobiography in which she wishes a friend with more confidence could step in as a substitute during author interviews, I put my fears aside and ponied up $89 for the two-and-a-half-hour class.

Which is so respectful I found myself, at more than a few points in the 12 sections, wanting to scream.

We meet Keene’s Christie behind a desk, and there she stays, smiling and nodding as she walks us through her thoughts on her craft (including, in the introduction, her aversion to offering them).

Christie’s autobiography is a doorstop. Thoughts about writing, her characters and her career run through it, but they rarely take up more than two consecutive pages. Christie historian Mark Aldridge has done a remarkable job of mining it, as well as other writings, to create a genuine tutorial with an admirable script.

Yes, Christie offers the typical anodyne advice — write what you know and the type of book you enjoy reading — but she also gets very granular. A murder mystery is best at 50,000 words, the murderer and important clues must be introduced very early on, settings should be described thoroughly but economically (“sometimes a map works best”) and one must never give into an editor who spells cocoa as “coco.”

In portions that include “characters,” “plots,” “settings” and “clues,” Christie assesses some of her work. She came to think that her first book, “The Mysterious Affair at Styles,” was over-stuffed with plot, but remained irritated by those who claimed that the twist in “The Murder of Roger Ackroyd” was a cheat. She wished she had introduced Hercule Poirot as a younger man, and was very happy to ditch Hastings for a while.

She discusses the importance of observation in everyday life, describing, among other things, how an encounter in front of a shop window led to one of her Parker Pyne stories, as well as the usefulness of isolated settings (“snow can also weigh down telephone wires”) and second (or third) murders.

In the opening minutes, it’s kind of neat to see what looks very much like a midlife Christie, smiling and talking in her very British way (the voice is not precise but close enough).

Still, there is no getting away from the fact that this is a two-and-a-half-hour lecture, delivered by a woman sitting behind a desk who, with the exception of a very few hand gestures, never moves. The camera moves, shooting her from this angle and that, and occasionally roving over various covers of Christie’s books. But Christie’s body remains as still as the late Queen Elizabeth II delivering her Christmas address.

I began to feel quite concerned for Keene — just how long were these takes? She delivers a vocally expressive performance and gives the digitally recreated face the necessary intelligence, wit and kindliness. The face itself looked fine — a bit glowy at times and immobile around the eyes — but its novelty quickly wore off. I would have happily traded what is essentially a parlor trick for a Christie who would get up and walk around a bit. Have a cup of tea, flip through a notebook.

Actor Vivien Keene’s voice and face were altered to create Agatha Christie’s likeness.

(BBC Maestro)

I realize that it is a course, and one I did not have to go through in one sitting. But as the first hour slid into the second, I found myself longing for someone, Aldridge perhaps, to mine Christie’s exquisite autobiography more broadly and create an entire one-woman play. An evening with Agatha, free of AI, in which Christie could reminisce about her extraordinary life, from her glorious Victorian childhood to her later years as an archaeologist.

Though known as the creator of the manor-house murder story, Christie was, as her books indicate, a voracious world traveler, learning how to surf before surfing was a thing, and dealing with adventures and misadventures (including a 14-hour honeymoon trek by camel and a hideous case of bed bugs on the Orient Express) that would give even the most intrepid travel influencer pause.

She lived through two world wars, experienced wildly unexpected success and deep personal loss. She endured a heartbreaking divorce and a nervous breakdown, while raising a daughter and writing books, only to rally again and find love again in the most unexpected place.

She wasn’t a saint — her work occasionally includes the racist, antisemitic and classist tropes of its time — but she avowed fascism as often as her more political contemporaries and believed, as she says in the course, that she lived in contract with her readers for whom she had the utmost respect.

She was a celebrity who never behaved as a celebrity, an artist who never admitted to art (and wrote her books on any steady surface, including orange crates and washstands), a novelist like no other who also wrote the longest-running play in history and whose work continues to sell while being adapted in film and television. Her contribution to the culture is literally incalculable.

So surely she deserves more than a course that makes news mainly because of its use of dreaded AI. She’s Agatha-freaking-Christie. Give her a movie, a miniseries, a play. Give her an actor who worries less about the face and more about the words, and the life that inspired them.

Mark Twain was America’s first celebrity, a multiplatform entertainer loved and recognized all over the world. Fans from America to Europe to Australia bought his books and flocked to his one-man shows, and his potent doses of humor and hard truth enthralled both the highborn and the humble. After he died, his work lived on through his novels, and his influence has endured — this year’s Pulitzer Prize-winning novel, “James” by Percival Everett, reverses the roles of the main characters in Twain’s “Adventures of Huckleberry Finn,” replacing the narration of the teenaged Huck with that of the slave Jim.

Ron Chernow writes books about men of great ambition ranging from President Ulysses S. Grant to financier J.P. Morgan — his biography of Alexander Hamilton inspired the long-running Broadway musical — and is an expert chronicler of fame’s highs and lows. But in taking on Twain’s story, he signed on for a wild ride. Twain was both a brilliant writer who exposed America’s hypocrisies with humor and wit, and an angry man who savored revenge, nursed grudges and blamed God for the blows fate rained down on his head. “What a bottom of fury there is to your fun,” said Twain’s friend, the novelist William Dean Howells.

Born Samuel Langhorne Clemens in 1835, Twain grew up in the slaveholding community of Hannibal, Mo., a town he would immortalize in “Huckleberry Finn” and its prequel, “The Adventures of Tom Sawyer.” The restless young man drifted from one job to another, then found his first calling as a riverboat pilot on the Mississippi, an experience that would inform Twain’s “Life on the Mississippi” and other books. The river gave him his pen name (the phrase “mark twain” indicated a safe water depth) and inflicted an early blow in the loss of his younger brother: encouraged by Twain, Henry Clemens signed on to a riverboat crew, then died when the boat exploded. Twain blamed himself.

Twain’s river idyll ended with the Civil War. Traffic dried up, and to escape conscription into the Confederate Army, Twain headed west with his brother Orion to the Nevada territory. He reveled in the rambunctious disorder of its mining towns, and as a young reporter there he uncorked his ebullient sense of humor. His literary career began in earnest when he moved to San Francisco, and helped by California writers such as Bret Harte, he went national when in 1865 a New York newspaper picked up his story “The Celebrated Jumping Frog of Calaveras County.” Twain moved east, and his career took off like a rocket.

On a travel junket that inspired his first book, “Innocents Abroad,” Twain saw a portrait of his future wife, Olivia “Livy” Langdon. He fell for her image and contrived to meet her, and despite Twain’s many eccentricities, her distinguished family accepted him. They married, and their life in Hartford, Conn., padded by Livy’s family wealth, was a gracious dream, as the greatest of Twain’s age — Grant, Robert Louis Stevenson, Helen Keller — sought his company. But tragedy struck again: their first child, a son, died at 18 months.

The couple had three more children — daughters — and Livy’s seemingly bottomless wealth supported him. She edited his manuscripts, ran his household and smoothed his rough edges. But the couple’s Achilles’ heel was their shared taste for luxury. They routinely lived beyond their means, running up bills even as Twain, a reckless investor with terrible business sense, gambled with both his publishing earnings and her inheritance.

Throughout it all, he kept writing. The most enduring of Twain’s books is “Adventures of Huckleberry Finn,” published Stateside in 1885 when Twain was 49, the story of a runaway boy and an escaped slave who flee down the Mississippi River. A sequel to Twain’s comic novel “Tom Sawyer,” it penetrated the dark heart of Hannibal’s savage treatment of Black people. Chernow writes that “if Tom Sawyer offered a sunlit view of antebellum Hannibal, in ‘Huck Finn’ Twain delved into the shadows. As he dredged up memories anew, he now perceived a town embroiled in slavery.”

Ron Chernow has previously authored biographies on historical figures including Ulysses S. Grant and Alexander Hamilton.

(Beowulf Sheehan)

“Huck Finn” was the apotheosis of Twain’s gift for truth-telling, as he exposed the sadistic oppression of Black people and made the slave Jim the hero. In the 20th and 21st centuries, the book has been banned for its use of a racial slur, but Chernow makes a strong case for the book’s significance, buttressed by “James” author Everett’s summation: “Anyone who wants to ban Huck Finn hasn’t read it.”

Twain’s book sales failed to balance the household budget, and the family had to move to Europe to curtail expenses, the beginning of years of exile. Their departure from America was the end of a dream and the beginning of a nightmare. Twain’s daughter Susy, who had remained in America, died of bacterial meningitis at age 24. Then Livy died. Her loss unleashed Twain’s anger at pitiless fate, and his relationships with his two surviving daughters became increasingly estranged. “Ah, this odious swindle, human life,” he swore, after his daughter Jean endured a major epileptic seizure.

“In most lives there arrives a mellowing, a lovely autumnal calm that overtakes even the stormiest personalities,” Chernow writes. “In Twain’s case, it was exactly the reverse: his emotions intensified, his indignation at injustice flared ever more hotly, his rage became almost rabid.” He continued to write and make appearances, drawing huge crowds, honing his image as a white-suited, cigar-chomping seer. But he also became self-indulgent and self-isolating, assisted by a poorly paid helper, Isabel Lyon, who took over most aspects of his life, an arrangement that was a prescription for disaster. His main companions were his “angelfish,” prepubescent girls he arranged to keep company with (Chernow makes a strong case that there was no sexual abuse in this arrangement), but his retreat into a second childhood couldn’t shield him from the final, catastrophic family loss that came shortly before his own death.

The downward trajectory of Twain’s life shadows his story in elements of Greek tragedy. Twain was a cauldron of creativity and often courage, speaking for Black equality and the suffrage movement, and against anti-Chinese harassment, colonialism and kings. But in his final years, he allowed grief and bitterness to swamp his life, and one wonders at how such a brilliant man could have such little understanding of himself. At 1,200 pages, this is not a book for the casual reader, and Chernow never quite gets to the core of the contradictions in Twain’s conflicted soul. But he tells the whole story, in all its glory and sorrow.

“Mark Twain” is a masterful exploration of the magnificent highs and unutterable lows of an American literary genius. Twain himself once said that “Biographies are but the clothes and buttons of a man — the biography of the man himself cannot be written.” But this one feels like the truth of one man’s star-crossed life.

Gwinn, a Pulitzer Prize-winning journalist who lives in Seattle, writes about books and authors.