Joe

Masashi “Jumbo” Ozaki, whose 113 worldwide victories were the most of any player from Japan, died Wednesday in his home country after a battle with colon cancer, the Japan Golf Tour said. He was 78.

Ozaki was revered in Japan, a big hitter with a sense of style who won 94 times over 29 years on the Japan Golf Tour, the last one coming at the 2002 ANA Open when he was 55.

He rose to No. 5 in the world ranking in 1996 at age 49. Ozaki often got overlooked for never winning outside Japan except for the New Zealand PGA Championship. He was inducted into the World Golf Hall of Fame in 2011.

“He is an indispensable, one-of-a-kind figure in discussing men’s golf, both now and in the future,” the tour said in a social media post.

Ozaki competed in 49 majors, his best finish coming in the 1989 U.S. Open at Oak Hill when he finished three shots behind Curtis Strange. He played the Masters for the 19th and final time in 2000 when he was 53 and tied for 28th.

Isao Aoki was the first Japanese player in the World Golf Hall of Fame, and Hideki Matsuyama became the first to win a major at the 2021 Masters. Both were inspired in some fashion by Ozaki, the pioneer in a nation now obsessed with golf.

Ozaki won the Japan Open five times and the Japan PGA Championship six times. He led the Japan Golf Tour money list a record 12 times, including five in a row from 1994 through 1998. He won his final money title in 2002, when he was 55.

When he was inducted into the Hall of Fame, Ozaki said his one regret was not playing more outside of Japan.

“But I dedicated my life to Japanese golf and am extremely grateful the voters thought I was worthy of this honor,” he said upon his election. He received 50% of the vote on the International ballot.

Ozaki was looked upon as the Arnold Palmer of golf in Japan with his powerful swing, charisma and sense of style, often wearing silk shirts and baggy pants. And his skill was not limited to just golf. He played the guitar and had three songs reach the pop charts in Japan, according to the Hall of Fame.

His first love was baseball, and he spent three years pitching professionally before turning to golf. That was evident when Ryo Ishikawa, who won his first Japan Golf Tour title at age 15, spoke of Ozaki’s influence. Ishikawa said he would visit Ozaki about 10 times a year to get advice.

“Jumbo used to be a baseball player, so he always tried to teach me the link from pitching or hitting to golf,” Ishikawa said in 2010 interview with the Associated Press. “Jumbo wanted me to hit the ball far.”

Ozaki traveled with an entourage when he did play outside Japan in the majors, usually renting a house and bringing a sushi chef so his people would feel at home.

He has two younger brothers who also played on tour, Naomichi (Joe) and Tateo (Jet).

Ozaki played in the 1996 Presidents Cup, partnering with Vijay Singh to beat the American duo of Fred Couples and Davis Love III. He qualified for the 1998 team but decided against the trip to Australia, and his brother, Joe, played instead.

Ferguson writes for the Associated Press.

Pat Cummins takes his second wicket of the innings as Joe Root is caught behind for 19 as England fall to 71-4 in their first innings, 300 runs behind Australia’s 371, as the home side take control on day two of the third Ashes Test in Adelaide.

FOLLOW LIVE: The Ashes third Test – day two

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Joe Root avoids being given out for one after review shows an edge behind drops just short of Australian wicketkeeper Alex Carey, with England 42-3, still 329 runs behind Australia’s first innings score of 371 on day two of the third Ashes Test in Adelaide.

FOLLOW LIVE: The Ashes third Test – day two

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Joe Ely, a singer-songwriter and foundational figure in Texas’ progressive country-rock scene, has died. He was 78.

According to a statement from his representatives, Ely died Dec. 15 at home in New Mexico, from complications of Lewy Body Dementia, Parkinson’s disease and pneumonia.

Ely had an expansive vision for country and rock, heard on singles like “All My Love,” “Honky Tonk Masquerade,” “Hard Livin’,” “Dallas” and “Fingernails.” Born in 1947 in Amarillo, Texas, Ely was raised in Lubbock before moving to Austin and kicking off a new era of country music in the region, one that reflected both punk and the heartland rock of the era back into the roughhousing country scenes they came from.

After founding the influential band the Flatlanders with Jimmie Dale Gilmore and Butch Hancock (which dissolved soon after recording its 1972 debut), he began a solo career in 1977. He released several acclaimed albums, including 1978’s ambitiously rambling “Honky Tonk Masquerade,” before finding his popular peak on 1980’s harder-rocking “Live Shots” and 1981’s “Musta Notta Gotta Lotta.”

Ely, beloved for barroom poetry that punctured country music’s mythmaking, was a ready collaborator across genres. He befriended the Clash on a tour of London and sat in on the band’s sessions recording their epochal “London Calling” LP. He later toured extensively with the group, singing backup on “Should I Stay or Should I Go,” and earning a lyrical tribute on “If Music Could Talk” — ”Well there ain’t no better blend than Joe Ely and his Texas men.”

Ely was a favorite opener for veteran rock acts looking to imbue sets with Texas country swagger. He performed with the Rolling Stones, Stevie Nicks, Tom Petty & the Heartbreakers and Bruce Springsteen, who later sang with him on “Odds of the Blues” in 2024. Springsteen once said of Ely: “Thank God he wasn’t born in New Jersey. I would have had a lot more of my work cut out for me.”

In the ‘90, Ely joined a supergroup, the Buzzin Cousins, with John Mellencamp, Dwight Yoakam, John Prine and James McMurtry, to record for Mellencamp’s film “Falling From Grace.” Robert Redford later asked Ely to compose material for his film “The Horse Whisperer,” which led to collaborations with his old Flatlanders bandmates and a reunion in the 2000s. He also acted in in the musical “Chippy: Diaries of a West Texas Hooker” at Lincoln Center in New York City and joined the Tex-Mex collective Los Super Seven — he shared in the band’s Grammy for Mexican-American/Tejano Music Performance in 1999, his only such award.

Ely was inducted into the Austin City Limits Hall of Fame in 2022 and released his last album, “Love and Freedom,” in February.

The true story behind the family drama “Rosemead” may not be the saddest tale ever brought to the screen. But boy, it’s up there.

Inspired by a shattering 2017 Times article by then-staff writer Frank Shyong (and now the first narrative feature film from LA Times Studios), “Rosemead” has long been a passion project for its star, Lucy Liu, also a producer. It’s not hard to see why.

This powerful account of humble, terminally ill Taiwanese American widow Irene Chao (based on real-life Rosemead resident Lai Hang), who takes the fate of her schizophrenic teen son into her own hands, offers the transformational role of a lifetime for Liu. Best known for stylish, commanding turns in the “Charlie’s Angels” and “Kill Bill” movies and in TV series such as “Ally McBeal” and “Elementary,” she’s a revelation here.

But the narrative also shines a crucial spotlight on L.A.’s Asian American community and its sometimes insular approach to handling emotional trauma, particularly mental illness. Shame over the condition’s perceived stigma, language barriers and a general fear of expressing oneself add to this cultural dilemma, one that hasn’t been widely explored on the big screen.

Liu is tender and heartbreaking as Irene, who runs the local print shop that her husband (Orion Lee, seen in flashbacks) left behind several years ago. She also helps out in the herbal pharmacy run by childhood best friend Kai-Li (Jennifer Lim). Given that Irene displays a troubling cough from the start, it’s no surprise where her health is heading.

Of more immediate worry to Irene, though, is her only child, Joe (an excellent Lawrence Shou), a high school senior diagnosed with schizophrenia after his beloved dad’s untimely death — and it’s gotten worse. This downturn has impacted his grades, competitive swimming status and overall focus; he obsessively doodles eerie clusters of spiders and draws a disturbing map of his school’s floor plan.

Joe maintains a supportive circle of friends, but they, like Irene and other observers, are ever more alarmed by his bouts of extreme behavior. The boy’s abrupt, inexplicable disappearances are increasingly commonplace, as is a destructive streak.

If that wasn’t enough, Joe has secretly stopped taking his meds. He’s also seemingly become fixated on guns and the endless string of school shootings that make the news.

His deeply concerned therapist, Dr. Hsu (James Chen), assures Irene, who has kept herself at arm’s length, “Most people with schizophrenia don’t engage in violence.” But it’s cold comfort to a mother whose days are numbered by a dire diagnosis. She’s convinced that when she is no longer there to monitor and protect her son, he will hurt himself and others.

Something must be done. The result is an act so unthinkable that, if it hadn’t happened in real life, Marilyn Fu’s otherwise sensitively constructed screenplay might seem beyond repair. But, as they say, truth is stranger than fiction and viewers won’t soon forget the film’s devastating conclusion.

Eric Lin, who has served as cinematographer on such disparate indie films as “The Exploding Girl,” “My Blind Brother” and “Hearts Beat Loud,” makes a worthy feature directing debut here, even if the picture tends to unfold a bit more prosaically than its singular story might demand. Yet when Lin attempts to break out using strobe effects to reflect Joe’s schizophrenic episodes, it comes off more jarring than immersive.

Still, with an able assist from cinematographer Lyle Vincent (“A Girl Walks Home Alone at Night”), Lin vividly captures the look and feel of life in and around Rosemead. This is a special achievement since only about a quarter of the movie was shot in L.A. The rest was filmed in Queens, Brooklyn and Long Island to take advantage of New York’s tax incentives. No matter: The final product, featuring an effective array of SoCal exteriors to tie things together, looks seamless.

Enough can’t be said about Liu’s astonishing, naturalistic turn. She’s a physical marvel here, making herself as small and inconspicuous — yet also as quietly resolute — as her complex character requires. Liu, who was raised in a Chinese-speaking New York household, proves a verbal wonder as well, impeccably toggling between Irene’s halting English and her fluent native Mandarin. Prizes may elude Liu this awards season, but she should be in the conversation.

Despite the film’s downbeat subject matter and its grim finale, watching “Rosemead” isn’t as wholly depressing as it may sound. Like many films and TV shows that have dealt with life’s most unimaginable trials, there are profound human and societal lessons to be gleaned. Moreover, at this moment in time, any truthful, heartfelt story about America’s immigrant experience deserves our attention. That the film contains one of the year’s finest performances may seal the deal for more serious viewers.