101 East meets innovators across East Asia using digital technology to transform how we grieve those we love.
East Asia is facing a demographic reckoning, with societies in Japan, South Korea and Taiwan ageing rapidly.
With a drastic shortage of burial space, a lucrative new market is emerging.
From AI avatars to DNA gems, technology is bringing loved ones back to life – in digital forms – raising questions about whether it will help heal or hinder the grieving process.
101 East investigates how new technology is transforming the way we bid farewell to those we love.
Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell. Thirteen division titles in 14 seasons, and in the year they didn’t win, they had 106 victories. We don’t have a lot to complain about.
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Division titles and Ryan Ward
—The Dodgers won the division title again, clinching it Thursday with their win over the Reds. Remember the olden days of yesteryear when winning the division was a huge deal? Now it is blasé. Dodgers fans live in a time where they have an embarrassment of riches,
Let’s look at how many NL West titles each team has won since divisional play began in 1969:
Dodgers, 24 San Francisco, 9 Cincinnati, 7 Arizona, 5 Atlanta, 5 San Diego, 5 Houston, 2
There was no official winner in 1994, which was ended by a labor dispute.
I guess I’m feeling extra nostalgic today, but I remember growing up the Dodgers’ biggest divisional rival was the Cincinnati Reds, who moved to the Central division in 1994 and have since won a grand total of zero division titles.
If we narrow NL West titles since 2000, we get:
Dodgers, 16 San Francisco, 5 Arizona, 4 San Diego, 2
Poor Colorado.
—The Dodgers made room for pitcher Kris Bubic on the 40-man roster by designating outfielder Ryan Ward for assignment. Ward has been a favorite of newsletter readers for a couple of seasons now, but he really had no place on the team anymore. He’s too old (28) to really be a prospect and his best triple-A season came in his third season at that level. His numbers declined in triple-A this season (you can see his numbers here).
He’s not great defensively, and the team already has corner outfielders who aren’t great defensively. They passed him over for Josue De Paula when they needed someone to fill in for Shohei Ohtani, and there are several outfielders in the system who are considered better than Ward.
In all likelihood, another team will pick him up and give him more playing time in the majors, something he wasn’t going to get with the Dodgers. Hopefully we see him next season in the “There names seem familiar” section of this newsletter.
Evidence of Dave Roberts’ growth
One of the knocks on Dave Roberts has always been his poor postseason managing. But his postseason managing has dramatically improved the last few seasons, and I’m not just saying that because they won the last two World Series. His decisions appear to not always be guided by analytics, like they are during the regular season. And it appears Roberts has indeed learned some things during his tenure. He recently appeared on the 6-1-1 podcast, hosted by former major leaguers Ryan Howard and Jimmy Rollins, and had this to say:
“When you’re talking about winning 11 games in October, I couldn’t believe more that it’s about people, and players you can bet on,” Roberts said. “The heartbeat that the analytics doesn’t line up with. I think that early on, my mistake was I continued to use that same method of the regular season in the postseason….
He also had high praise for two of his players.
“Mookie has said to me, ‘Doc, we wouldn’t have won the World Series if it wasn’t for Shohei and Yamamoto. And his point was, the discipline that they had every single day, how they worked with intention every single day … it raised the level even higher for our guys.”
Forgotten Dodger: Pete Reiser
Pete Reiser in 1941.
(Associated Press)
Pete Reiser never met an outfield fence he didn’t like crashing into and it may have cost him a Hall of Fame career.
Harold Patrick Reiser was born on March 17, 1919, in St. Louis. He loved westerns and as a child often walked around wearing a cowboy hat and carrying toy guns, so people started calling him Pistol Pete, which stuck with him throughout his baseball career.
After playing in 58 games with the Dodgers in 1940, Reiser came into his own in 1941 when he hit a league-leading .343 to go with 117 runs, 39 doubles, 17 triples, 14 homers and 76 RBIs. He also played great defense in center. That got him second place in NL MVP voting behind teammate Dolph Camilli (Reiser should have won). Reiser led the league in nine categories.
He followed that by hitting .310 with 33 doubles and 10 homers in 1942, leading the league with 20 steals and making his second straight All-Star team. However, on July 18 of that year, he crashed full speed into the center-field fence, which was made of concrete, while chasing a fly ball. He ended up with a separated shoulder and fractured skull. In those days though, you didn’t let little things like a fractured skull slow you down. He returned to the lineup a week later, but he wasn’t the same. He hit .244 the rest of the season.
He then enlisted in the Army and spent three years there. In 1944, after a long march in below-zero weather, Reiser was diagnosed with pneumonia. The Army decided to put him in Fort Riley, Kan., so he could play for the camp’s baseball team. With Reiser on the team, they were virtually unbeatable and Reiser was given his own room and excused from all other duties.
Reiser returned to the majors in 1946 and broke his leg while stealing second. He crashed into the fence in St. Louis and missed some time. But he still led the league with 34 steals, though his batting average dropped to .277.
In 1947, he was chasing another fly ball when he crashed into the wall face first. This caused another fractured skull. He was given the Last Rites by a priest in the hospital before making a miraculous recovery. He ended up playing 110 games that season.
He was a bench player the following season, as he had put on a little weight and had been slowed tremendously by his numerous injuries. The Dodgers traded him to the Boston Braves after the season for Nanny Fernandez and Mike McCormick.
By unofficial count, Reiser’s injuries over the years included four fracture skulls, multiple dislocated shoulders, two broken ankles, torn ligaments in both knees and and two beanings. He was carried off the field on a stretcher eleven times—five times when he was unconscious.
He retired after the 1952 season and came back to the Dodger organization as a roving minor-league hitting instructor. He joined Walter Alston’s coaching staff in L.A. in 1960 and helped tutor Maury Wills on how to steal bases. In an interview with this newsletter a few years ago, Wills made sure to give praise to Reiser as being a big part of his 104-steal season.
Reiser had a heart attack in 1965, went on to coach for other teams. He smoked a pack of cigarettes a day throughout his adult life and died of emphysema in Palm Springs in 1981. He was only 62.
The postseason race
Here are the postseason seedings as of Thursday’s games. The three division winners get the top three seeds, followed by the three teams with the best records. The top two division winners get a first-round bye. Milwaukee and the Dodgers have clinched division titles.
Remember, there are no extra games to break ties anymore. It all comes down to tiebreakers. Atlanta and Milwaukee have the tiebreaker over the Dodgers. For the wild card, the Cubs have the advantage over the Phillies, having won six of seven games against each other. The Diamondbacks and Padres have split 10 games, but their final three games this season are against each other, so that very well could determine the final wild-card spot.
These names seem familiar
How notable players who were with the Dodgers the last couple of seasons are doing with their new teams (through Wednesday). Click on the player’s name to be taken to their full stats page:
Anthony Banda, Twins: 2-0, 4.46 ERA, 2 saves, 34.1 IP, 31 hits, 15 walks, 33 K’s, 95 ERA+, out for the season
Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.
When Judy Collins comes to Los Angeles, she likes to stay at the Beverly Hilton in part because “they serve a fabulous breakfast,” she says over coffee at the hotel on a recent morning. “That’s rare today,” she adds. “Too often a place will just send up a cardboard shopping bag with the things you ordered in it.”
Collins knows her amenities: At 87, the Grammy-winning singer and songwriter still plays about 120 shows a year, drawing audiences around the world with her high, clear voice and an expansive repertoire that blends the hits that made her famous in the 1960s and ’70s — Joni Mitchell’s “Both Sides Now,” Leonard Cohen’s “Suzanne,” Stephen Sondheim’s “Send in the Clowns” — with traditional folk tunes and material of her own.
Yet now she’s preparing to hang it up with a lengthy farewell tour she’s calling Sweet Judy Blue Eyes (after “Suite: Judy Blue Eyes,” the folk-rock classic her one-time lover Stephen Stills wrote about her for Crosby, Stills & Nash). The night before our interview, Collins played L.A.’s Ford Theatre; she’ll be back through Southern California for a Sept. 27 date at the Lobero Theatre in Santa Barbara and again next year for shows in Palm Springs and Aliso Viejo.
After we talk, she plans to do a bit of tai chi, for which she uses an app on her phone and which she wishes more people practiced. “Maybe that would alter civilization,” she says. “If we were all doing tai chi, we couldn’t be at war with Iran.” Then she’ll head to the airport for a flight home to New York, where she’s lived for decades — most of them with her husband, industrial designer Louis Nelson, who died in 2024.
At breakfast, Collins is wearing a patterned turquoise jacket over a matching dress and high-heeled black leather boots.
“You like these?” she asks of the boots. “These are Stuart Weitzman. I bought them 30 years ago, and I’ve never stopped wearing them.”
That’s a well-made boot. They fit, they’re great and I reject all invitations to get rid of them.
Has your thinking about clothes changed over the decades? I used to dress in jeans because I was a cowgirl — I hung out with rodeo riders in Colorado. As I came up, I liked what was simple. My mother made all our clothes on a Singer sewing machine for years. Now I love beaded things. I have full closets I need to go through.
Before you came onstage last night, an announcer told the audience not to take pictures or videos. That’s my management’s doing — it’s important to them, so I go along with it. But the pictures are usually bad. Also, the phones take people’s minds off what’s going on onstage. People need the chance to focus. We’re in a period of insanity right now, so people need time to sit wherever they are. They could go to the ballet or to the theater, but they choose to come to me, and they get to sit there and they get to listen and they get to think about their own lives.
As a performer, that’s what you seek to provide. I’m providing silence. It’s such a noisy world — so full of crappy music that plays outside all these hotels and places where we stay. It drives me nuts.
You have a line in the show where you say, “Something unexpected happened — I turned 87.” It got a good laugh. People applaud too.
What are they saying by applauding? They want to be acknowledged for their own ages, whether they’re 87 or 90 or 19. People are coming to see me, but they’re also coming to see their history. They’ll remember what happened 60, 70 years ago — they were probably marching at the same things I was marching at. And if they’re 19, they want to know why we’re not marching now.
Judy Collins performs on “The Smothers Brothers Comedy Hour” in 1969.
(CBS via Getty Images)
You said we’re in a period of insanity. This country is losing so much of the depth of our origin. The fact that workers who’ve come to this country are being taken off to God knows where — it makes no sense. Number one, these people often have some sort of legality. And secondly, they do the work here. Nobody else wants to go up to the orchards in Oregon and pick the fruit. Do you?
I can’t say that I do. I don’t want to do that.
This tour is billed as your grand farewell. So long, you guys.
I’m always reluctant to trust that framing. Cher’s done like eight farewell tours. I hadn’t counted them up — shame on me.
Should we really believe you? I think we have to believe in the present tense. What you’re hearing is what’s happening.
You had a music stand onstage with you. What was on it? All the lyrics to all the songs.
You can’t possibly need the lyrics anymore. Oh, yes, I do.
You’ve been singing some of them for decades. Doesn’t matter — it has to be there in case you have to look at it.
Would you say you do look? Or is it more of a security blanket? It’s a security blanket. But my eyes wander — I like to see who’s in the audience and what’s going on. I like to look up and down the aisles, and I like to fantasize: How did this happen?
Your life and career? I mean, I know how it happened. I was 16, and I started going to the Denver Folklore Society, which was run by a guy named Lingo the Drifter. And Lingo the Drifter had these wonderful evenings where we all played the guitar and sang and drank illegal whiskey and so on.
Judy Collins last month in Beverly Hills.
(Allen J. Schaben / Los Angeles Times)
Before Denver, you lived briefly as a kid in Los Angeles. My father was a very eclectic and fabulous radio personality. He had a radio show for 30 years in Seattle then here in Hollywood, broadcasting out of CBS — a big deal. If we weren’t in school, we would drive up Santa Monica Boulevard into Hollywood and we’d stand around and watch them produce the radio mysteries. People would walk in a sandbox to get the sound of somebody walking up the gravel road to the door.
Are you familiar with the term “nepo baby”? No.
It refers to the child of a famous artist who follows in their parent’s footsteps. Oh, that’s interesting.
People use it derisively, as if to say that a kid has overly benefited from their advantages. We certainly had advantages. For instance, the Library of Congress, which is the jewel in the crown — I don’t know what they’re doing now — but they sent us Braille books and they sent us all the shows from New York and they sent us the recordings of all the Shakespearean plays by the great Dame Judith Anderson and John Gielgud. I had all that growing up. In some ways, I wasn’t raised — I was trained. I got to see how a professional has to handle his life. My father was a professional in all ways. He drank — occasionally, not all the time — but he was absolutely organized about everything, including that.
You’ve been sober for something like half a century. Forty-eight years. I’m in my 49th now.
You ever miss drinking? Oh, my God, no. I was so sick — I was gone. Bye-bye.
Some people replace one addiction with another. I had an eating disorder, which is still kind of … You know, last night, I asked for apple juice during the show — I was in trouble because I wasn’t eating. When my husband died, I stopped eating again. I’d stopped eating in the ’60s and ’70s and ’80s, but I got over that. But suddenly I didn’t want to eat again.
Would you consider that disordered eating? I don’t know. Anyway, I have to really be careful. We had a talk about it last night. I have to eat these protein bars, and I have to eat them all the time.
Do you remember the first gig you played after your husband died? Oh, yes — I had to go out. When my son took his life in 1992, I got a call from Joan Rivers — she and I knew each other pretty well. She was getting ready to go out and do her show in Las Vegas, and she called me in New York and she said, “I have to tell you this” — her husband had just killed himself — she said, “You cannot stay home. You have to go out.” I was canceling all my shows, and she said, “You can’t do that because you won’t ever get over this if you do.”
How did you take that advice? I said, “Thank you,” and I called my staff and I said, “Put ’em back on.” My mother came out with me, Louis came out with me, my sister came out with me, and it was incredibly true: I had to be working or else I would die. So when it came to Louis, I was out three days later.
What did that feel like? Well, it was wonderful because I was working. I can work and get through anything — that’s the psychological effect of what I’m doing on the stage. I’m interacting with people, I’m hearing the laughter, I’m hearing the music. What could be more healing?
This is why I’m wondering why you plan to stop touring. But you see, I have all these other things to do — I have a life that’s not just touring. I’m working on the music for a Broadway show. And I’m doing a new book — it’s called “Singing Through the Storm,” and it’ll be out next year, I hope.
Judy Collins and Leonard Cohen attend the 41st annual Songwriters Hall of Fame ceremony in New York in 2010.
(Larry Busacca / Getty Images)
You’ve interpreted the music of so many great songwriters: Joni Mitchell, Bob Dylan, Leonard Cohen. Was there ever a writer whose work you admired but couldn’t find your way into? No.
OK. I’ll tell you my funniest Leonard story. In 2014, I think it was, I went to this little group in Norway called Democrats Abroad — lonely group of people. That night, this woman came up to me and said, “Hi, I’m Marianne.” I said, “Hi, Marianne.” And then she said, “I’m Leonard’s Marianne.” She said, “There’s something I’ve wanted to tell you for many years: We were living together in Spain, Leonard and I, and he was writing songs and we were swimming in the nude. And then one day he came to me and he said, ‘Marianne, I’m going to New York to sing my songs for Judy Collins,’ and he went to New York and he played you all his songs and you recorded them.” Marianne said, “I just wanted to tell you that you ruined my life.” Fortunately, we became friends on Facebook.
You opened last night’s set with “Both Sides Now.” Oh, yes.
This might be the most famous song you do. Some artists would save it for later in the show. I don’t want people to wonder for an hour and a half: Will she? Won’t she? What will I do if she doesn’t?
Do you still enjoy singing “Both Sides Now”? I love it. It was Al Kooper who brought me to Joni — she sang it to me over the phone. Al is living a very sane, quiet life in the Northeast now. He’s married — never goes out anymore. It’s hard to think of Al Kooper just sitting there enjoying his marriage and his garden.
What will you do on the plane home today? I’ll probably get out the computer and noodle around on the book and see what I can come up with.
The work never ends. It never ends because it’s not done.
