PORTLAND, Ore. — Luka Doncic and Austin Reaves will miss the Lakers’ game in Portland on Monday as the team ruled both out with injuries.
One night after recording a 29-point, 11-rebound, 10-assist triple-double, Doncic is out to manage a lower leg contusion. Reaves, who scored 26 points and 11 assists in the Lakers’ 130-120 win over the Miami Heat, is out with right groin soreness.
This will be the fourth game Doncic has missed this season as he was also sidelined with a minor finger injury and a left leg contusion.
Playing in their second back-to-back of the season, the Lakers will again be short-handed. They had seven standard contract players when they hosted the Trail Blazers on the second night of a back-to-back last week. Portland won 122-108 as Reaves attempted to carry the team with 41 points.
The Lakers could also be without Deandre Ayton, who is questionable with back spasms. He missed Sunday’s game after experiencing pain last Friday in Memphis.
Forward Maxi Kleber was upgraded to questionable with an abdominal strain that has kept him sidelined all season.
THE clocks have gone back and we are facing months of dark skies, morning and night.
But long-stay holidays are perfect for those able to escape for the dreariest months of the year.
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Beat the winter blues with a long-stay holiday and escape months of dark skiesCredit: Getty
Whether it is retirees or workers on a career break, heading off for a longer trip can often mean less money spent on energy at home as well as the chance to boost your vitamin D.
Lisa Minot picks some great multi-week options from just £25 a night.
21 NIGHTS IN FLORIDA
from £38pp per night
Orlando’s thrills with a 21-night stay at the 3* Grand Hotel Orlando at Universal BlvdCredit: Getty
ESCAPE the chills and head for Orlando’s thrills with a great-value 21-night stay at the 3* Grand Hotel Orlando at Universal Blvd.
Perfectly positioned for those seeking theme park adventures, there are complimentary shuttle services to Universal Orlando, Walt Disney World and SeaWorld and there is a golf course a 15-minute drive from the property.
With 334 rooms across four floors, there’s a spacious outdoor heated pool with loungers and fitness gym.
Breakfast is included and features pastries, pancakes, fresh fruit and yoghurt.
Three weeks’ B&B is from £789pp including flights from Gatwick on January 15. See loveholidays.com.
29 NIGHTS IN CYPRUS
from £65pp per night
This 29-night holiday in Cyprus, departing Manchester on December 15 or Gatwick on December 16, includes all your food and drinksCredit: Getty
SWAP grey skies for golden sands this Christmas and see in the New Year with a sun-kissed escape to the all-inclusive Paphos Gardens Holiday Resort.
Set amid beautiful, lush gardens and close to the beach, there’s plenty to tempt you to relax by the pool and in the spa.
And this 29-night holiday, departing Manchester on December 15 or Gatwick on December 16, includes all your food and drinks.
The extended break also comes with six excursions, such as a winery tour with tasting, and guided tours of Paphos, Episkopi, Kourion, Kolossi and Omodos. Prices from £1,899pp. See justgoholidays.com.
30 NIGHTS IN GOA
from £107pp per night
This all-inclusive stay at the 3* ocean-front Clarion Ocean Palms resort costs from £3,199pp and includes flightsCredit: Getty
SPLASH out a little more and you could be enjoying a month in the sunshine in North Goa.
With its mix of Portuguese and Indian influences, you’ll get to explore Calangute and the surrounding areas, with a choice of three excursions included on this holiday.
Enjoy a Latin quarter food trail, Old Goa heritage walk and trips to Saligao Village and Fort Aguada.
This all-inclusive stay at the 3* ocean-front Clarion Ocean Palms resort costs from £3,199pp and includes flights from Gatwick, Heathrow and Manchester in November, February and March. Plus all transfers and excursions.
A three-week room-only stay in Bangkok’s Old Town district is yours from £879ppCredit: Getty
HEAD to the bright lights of Bangkok to enjoy sizzling temperatures and all the excitement of a big city.
Comfortable 3* The Orchid House is a great choice for couples looking for a budget stay, with colonial-style rooms complete with air conditioning.
Set in the historic Bangkok Old Town district, there’s a peaceful garden and terrace to return to after busy days exploring the sights, including the famous Khao San Road, just an eight-minute walk away.
Three weeks room-only is from £879pp, flying from Gatwick on November 26.
Prices are from £603pp with flights from Heathrow between November 14 and December 21Credit: Getty
ENJOY three weeks of pampering for the price of two at the 4* Preluna Hotel and Spa in the coastal town of Sliema.
The hotel is known for its Feel Good Wellness Spa with heated pool, whirlpool, sauna and beauty salon.
Standard rooms feature satellite TV, minibar, free wifi and tea and coffee-making facilities.
And if you upgrade, you’ll enjoy balconies and sea views.
This 21-night break includes B&B as well as a free third week.
Prices are from £603pp with flights from Heathrow between November 14 and December 21, and then from January 4 up until March 1, 2026, at mercuryholidays.co.uk.
34 DAYS IN BENIDORM
from £59pp per night
Once in Spain, relax with 28 nights all-inclusive at the 3* Hotel Port Fiesta Park in BenidormCredit: Getty
IF you’re not a fan of flying, this is the one for you.
Travelling by coach from the UK, you’ll enjoy a leisurely journey to sunny Benidorm, with overnight stops in the charming French towns of Troyes and Montpellier, plus a lunch stop in picturesque Macon.
Once in Spain, relax with 28 nights all-inclusive at the 3* Hotel Port Fiesta Park in Benidorm.
You’ll also get to head out and explore with guided tours of Guadalest, Valencia, Villajoyosa, Alicante and Elche and excursions to Altea, Albir and Calpe markets.
The 34-day trip, including return coach travel, is from £1,999, departing on January 7 or February 4.
In the working-class city of Commerce, where cars speed past on highways and the Citadel Outlets tower over neighborhoods, there is a steakhouse named Stevens. By day, it’s a classic and charming old restaurant where working people go for quiet, hearty meals.
But every Sunday night, the outside world disappears.
As waiters whisk about in starched button ups, couples lead each other by the hand toward the dance floor in the restaurant’s ballroom, where Stevens’ tradition of Salsa Sundays has been bringing the community together for 73 years.
At 7 p.m. every Sunday, beginner lessons start at Stevens Steakhouse.
(Emil Ravelo / For The Times)
An eight-piece band plays brass, electric guitar, bongos and timbales, filling the room with music as dancers twirl in a dizzying array. One attendee, 29-year-old Amy Hernandez, greets a few familiar faces before she steps onto the dance floor, spinning in confident steps with a wide smile on her face.
Hernandez is part of a revival that’s been getting younger people excited about salsa music — and flocking to Stevens. She grew up watching her father dance salsa, but started diving back into the genre on her own to find comfort during the L.A. wildfires earlier this year. She credits Bad Bunny’s “Debí Tirar Más Fotos” for re-sparking her interest.
“It was very healing for me,” she says of the album, which blends old-school Puerto Rican boricua samples with Latin dance and reggaeton influences for an emotional imagining of Puerto Rican identity.
For decades, Stevens has brought friends, couples, and families together for live music and dance.
(Emil Ravelo/For The Times)
When college friends recommended Stevens as an affordable place to dance, Hernandez mentioned it in passing to her dad. “He laughed and said, ‘I remember that place. I used to dance there too,’” Hernandez says.
The increasingly mainstream artists of Latin fusion genre reggaeton are returning to tradition. Along with the music of Bad Bunny, who’s headlining the upcoming Super Bowl halftime show, you can find classic salsa references in reggaeton star Rauw Alejandro’s latest album “Cosa Nuestra,” and in Colombian pop star Karol G’s multi-genre summer album “Tropicoqueta,” which will be at the center of her headlining Coachella set.
“You can feel the younger energy,” says longtime Stevens salsa instructor Jennifer Aguirre. “It makes me really happy to see a younger generation take on salsa. Because I was worried for a bit. I didn’t know how salsa is going to continue.”
Los Angeles has a unique relationship with salsa, the Afro-Caribbean dance born from Cuban mambo. In cities like Miami and New York, salsa arrived with Cuban and Puerto Rican immigrants. Instead, L.A.’s salsa influence came from Golden Age Hollywood, where Latin dance in movies produced a singular, flashier Angeleno style, characterized by quick turns and theatrical movement, according to salsa historian Juliet McMains.
The 1990s were another high for the genre, when West Coast pioneers like the Vazquez brothers and their first-of-its-kind dance team Salsa Brava sparked a local dance craze. The Vazquezes introduced the “on-1” step and innovated a flashier, dramatic style of salsa in L.A. that brought crowds to competitions and congresses through the 2000s. Legendary late promoter Albert Torres founded the L.A. Salsa Congress in 1999, the first congress on the West Coast, drawing a worldwide audience for Angeleno salsa.
Opened in 1952 by Steven Filipan (and located on Stevens Place), Stevens in Commerce became a local hub for Latin music. “The interesting part was that the area wasn’t Latin at all,” says Jim Filipan, Steven’s grandson and now the third-generation owner of the restaurant. “My grandfather had a foresight that this genre would be the future.”
Jim recalls his childhood growing up in the restaurant. “We would have hundreds of people on Sundays,” he says. “The ballroom, the restaurant, everyone was dancing salsa, and it was incredible. My dad took over in the ‘70s, and I was running it with him in the ‘90s.”
Yet by the 2010s it was apparent that another genre was taking hold of the Latin dance scene: bachata, ushered in by smooth-singing New York stars like Prince Royce and Romeo Santos. Salsa quickly went from being considered hip to rather old-fashioned.
During a Stevens dance lesson, guests learn how to spin on the dance floor.
(Emil Ravelo / For The Times)
Aguirre witnessed the genre lose interest firsthand. “It was like an immediate switch,” Aguirre says. “Salsa just wasn’t as popular anymore, and people would walk over to the other side of the restaurant to take the bachata lessons.”
The pandemic also dealt a large blow to local salsa clubs, as peers in the long-standing dance club industry fell to lower attendance rates and rising rent. And in the last year, two historic venues, the Conga Room and the Mayan, closed permanently.
Stevens almost had the same fate. The financial burdens during the pandemic made Jim consider closing for good. But he couldn’t help but consider the responsibility of his family’s legacy and the special place Stevens holds for local dancers.
“It’s very emotional for me because I have four generations in this restaurant, and now my daughter works here,” he says.
When Stevens reopened, the community came back in droves, ushering in a new era of excitement for salsa.
These days, at the beginning of every class, dance instructor Miguel “Miguelito” Aguirre announces the same rule.
“Forget about what happened today, forget about your week, forget about all the bad stuff. Leave it at the door,” Aguirre says. “It’s going to be better because we’re going to dance salsa.”
Dance instructor, Miguel Aguirre, right, mans the DJ booth alongside DJ Pechanga, another longtime employee of Stevens. Every weekend, the duo brings Latin music to the forefront of the space.
(Emil Ravelo/For The Times)
Aguirre has taught salsa at Stevens for 30 years. In many ways, the steakhouse has shaped his life. It’s where he discovered his love for teaching dance and much more.
“I started coming here in the ‘90s, sneaking in through the back door. I was a teenager, so not old enough to show my ID, but one day, Jim just said, ‘You guys cannot come in through the back anymore. You can come into the front,’” Aguirre says. “And then one day he said, ‘Hey, we are missing the instructors. They’re not coming in. Can you guys teach the class?’ And, I’m still here.”
Jennifer Aguirre, a fellow dance teacher at Stevens, is his wife. She met him one day at Stevens’ annual Halloween party.
“He asked me to join his class because they ‘needed more girls,’” Jennifer says, laughing.
Now Jennifer teaches the beginner’s class, while Miguel is on intermediate. But once 10 p.m. hits, it’s social dancing time. The whole floor comes together and a familiar community converges. If attendees are lucky, they might catch Jennifer and Miguel, a smooth-dancing duo, letting loose, stepping and dipping effortlessly.
On a recent Sunday night, the low-lighted ambience of the restaurant met the purple lights of the dance room, with people sitting all around for a peek at the moves on display. Buttery steaks and potatoes cooking in the kitchen tinged the air as the dance floor came alive with women spinning in dresses and men in shining shoes gliding to the rhythm of the music. Miguel Aguirre manned the DJ stand, asking two singles if they knew each other and encouraging them to dance.
Gregorio Sines was one of the solo dancers on the floor, swaying partners easily under Miguel’s encouragement. Years ago, his friend, who frequented Stevens, dragged Sines out to dance socials, telling him it would be the best way to meet people and open up.
As someone who began with anxiety to dance in front of others, Sines now performs in Stevens’ dance showcases. He says consistently returning to the steakhouse’s historic floor and immersing himself in the supportive community not only changed his dance game, but brought him out of his shell.
“I tell anyone, if you’re scared to dance, you just have to get out there,” Sines says. “There’s a community waiting for you.”
Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.
The retired reporter had always loved show tunes, but he’d never considered singing in public before.
“I sang for my own amusement, and I wasn’t very amused,” he said recently.
But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.
For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.
Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.
Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.
“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”
For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.
“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”
Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.
The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.
“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”
Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.
The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.
Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.
“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”
On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”
People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.
The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”
“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”
Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”
Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.
Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.
“I know that song very well and you did a great job,” he said.
Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”
Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.
There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.
He stumbled for a moment, a bit perplexed, before turning to his friends for help.
“Whoever knows the words, sing it with me,” Nobles said to the crowd.
Quietly at first and then louder and stronger, the whole room broke out into song.
We’re lost in a masquerade. Woohoo, the masquerade.
