Who: India vs Australia What: ICC Women’s Cricket World Cup 2025 group stage When: Sunday, October 12 at 3pm (09:30 GMT) Where: Dr YS Rajasekhara Reddy ACA-VDCA Cricket Stadium, Visakhapatnam, India How to follow:Al Jazeera Sport will have live build-up from 07:00 GMT before our text commentary stream for the action.
India will hope for a quick return to winning ways when they meet defending champions Australia in a blockbuster clash at the ICC Women’s Cricket World Cup 2025 on Sunday.
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Both teams began the tournament as favourites, but Australia hold a definite edge in the match as record seven-time world champions and the only undefeated team after the first three group-stage matches.
Meanwhile, India were handed their first loss of the World Cup when South Africa pulled off a stunning turnaround in a three-wicket win on Thursday.
All 15,087 tickets for the eagerly awaited clash were sold out earlier in the week, indicating huge interest in what is now seen as one of the top rivalries in women’s cricket.
India vs Australia rivalry ‘continues to grow’
Australia’s captain Alyssa Healy admitted the interest in the Australia-India rivalry “continues to grow”, and that Australia will be taking on the “sleeping giant” of women’s cricket.
“They’ve [India] been a sleeping giant in the women’s game for a long period of time,” Healy said on Saturday.
The wicketkeeper-batter highlighted the role of the Women’s Premier League T20 franchise tournament in helping India unearth talent and figure out a style of play that suits them.
While Australia haven’t lost a match in the tournament, they have recovered from wobbly situations to post two wins in their two completed matches.
“You’re going to be put under the pump in unfamiliar conditions, against unfamiliar sides at times,” Healy explained.
“We’re allowed to lose games of cricket and be put under pressure in World Cups, and I really back the depth in our side,” she said when asked to comment on Australia’s batting slump against Pakistan on Wednesday.
“We’re fortunate that it’s been a different person every time that stuck their hand up and said, yep, I’ve got this, I can get us to a total or I can take the wickets to restrict the team.”
Despite their unmatched record in women’s cricket, Healy said India will be “a real threat” playing in their home conditions.
India beat Australia in the semifinal of the Women’s World Cup 2017 in England [File: Rui Vieira/AP]
India not dwelling on loss
India’s all-rounder Sneh Rana believes her team can bounce back quickly after the loss to South Africa, as they don’t dwell on losses and focus on the next challenge instead.
“We regroup, we study the match, plan how to improve, take the positives, and look forward to the next game,” Rana said on the eve of the Australia match.
She termed the Australians “one of the strongest competitors” but was quick to highlight the fact that India have beaten the world champions in the (2017) World Cup as well as their recent bilateral series.
For the hosts, one of the major areas of concern will be the lack of big scores from their top-rated batter Smriti Mandhana.
The left-handed opener has scored a world record 972 runs in women’s one-day internationals (ODIs) in 2025, but her top score in the tournament stands at 23.
In fact, none of India’s top batters feature among the tournament’s top five run-scorers thus far, with wicketkeeper Richa Ghosh in fourth spot with 131 runs.
Rana, however, said the team is not worried about the lack of runs from the top.
“We have some of the best batters in the world, and it’s just a matter of one good knock [before they score big].”
Smriti Mandhana has scored 54 runs in her three innings in the Women’s Cricket World Cup 2025 [Anupam Nath/AP]
India vs Australia: Head-to-head in ODIs
Despite the relatively low frequency of women’s international matches in past decades, India and Australia have faced each other in 59 ODIs.
Australia dominate the head-to-head count with 48 wins compared with India’s 11.
Form guide: India
The hosts won their first two matches of the World Cup comprehensively before crashing to a loss against South Africa. Their pre-tournament form has been mixed, with a series loss to Australia at home and an away series win against England.
Last five matches (latest result first): L W W L W
Form guide: Australia
Australia have won two of their three matches in the World Cup, with their fixture against Sri Lanka abandoned due to poor weather.
Apart from the one loss against India in September, Australia have not lost an ODI since September 2024.
Last five matches (latest result first): W W W L W
Team news: India
India may want to swap a spinner for a pace bowler, in which case Shree Charani could make way for Renuka Singh Thakur.
The Sparks announced they are joining the WNBA’s facilities upgrade boom, building a $150-million, 55,000-square-foot training and practice facility in El Segundo that is set to open ahead of the 2027 season.
The venue will include two WNBA regulation basketball courts along with a locker room, weight room and athletic training space. The team states the facility will also feature an outdoor spa, indoor hydrotherapy suites, dedicated nap rooms, wellness spaces for yoga or mediation, and extensive use of natural light and retractable doors.
“We’re building a place where Sparks players can be at their best on and off the court,” said Eric Holoman, Sparks managing partner and governor. “From cutting-edge training and recovery spaces to family and community areas, every corner of this facility was designed with them at the center.”
The team did not disclose the venue’s address in El Segundo, which also is the location of Lakers, Kings and Chargers practice facilities.
The Sparks, who posted a 21-23 record and fell two wins short of clinching a playoff spot this season, are addressing one of the biggest complaints about the franchise’s commitment to player development. The team most recently trained at El Camino College, where they had no permanent locker room or weight room. The franchise has rented various training locations throughout its history, making the new building a dramatic upgrade for the team.
The team provided the following renderings of the facility.
A rendering shows the exterior of the Sparks’ future training and practice facility in El Segundo.
(Gensler)
A rendering shows the basketball courts in the Sparks’ future training and practice facility in El Segundo.
(Gensler)
A rendering shows an indoor hydrotherapy pool in the Sparks’ future training and practice facility in El Segundo.
(Gensler)
A rendering shows what the Sparks call a glamour area in their future training and practice facility in El Segundo.
(Gensler)
A rendering shows a locker room in the Sparks’ future training and practice facility in El Segundo.
(Gensler)
A rendering shows a weight and fitness room in the Sparks’ future training and practice facility in El Segundo.
There have been nine previous Women’s World Cups but only three nations have lifted the trophy – New Zealand (six times), England (twice) and the United States (once).
England have played in eight finals but only won two of them, in 1994 and 2014.
Canada lost on their only previous appearance in a final, falling to England in 2014.
The United States won the inaugural tournament in Cardiff.
2021: New Zealand 34-31 England – Eden Park, Auckland*
*competition was postponed to 2022 because of Covid pandemic
2017: New Zealand 41-32 England – Ravenhill, Belfast
2014: England 21-9 Canada – Stade Jean-Bouin, Paris
2010: New Zealand 13-10 England – Twickenham Stoop, London
2006: New Zealand 25-17 England – Commonwealth Stadium, Edmonton
2002: New Zealand 19-9 England – Olympic Stadium, Barcelona
1998: New Zealand 44-12 USA – National Rugby Centre Stadium, Amsterdam
1994: England 38-23 USA – Raeburn Place, Edinburgh
1991: USA 19-6 England – Cardiff Arms Park, Cardiff
Authorities detained an armed man pretending to be affiliated with law enforcement near State Farm Stadium in Glendale, Ariz., ahead of Sunday’s planned memorial for conservative activist Charlie Kirk. File Photo by John Angelillo/UPI | License Photo
Sept. 20 (UPI) — Authorities detained an armed man who was pretending to be affiliated with law enforcement at the location of Sunday’s planned memorial for conservative activist Charlie Kirk.
The man has not been identified or officially arrested but was armed when local and U.S. Secret Service agents detained him overnight at State Farm Stadium in Glendale, Ariz., officials confirmed on Saturday.
Officials said the man was “exhibiting suspicious behavior” when he was detained and told police and the Secret Service he was affiliated with law enforcement.
Police confirmed he is not a member of any law enforcement agency and are looking into why he was at that location.
The memorial for Kirk is scheduled to take place Sunday at the stadium, which can hold more than 63,000 people.
President Donald Trump and Vice President JD Vance are expected to speak at the memorial for Kirk, who was shot and killed earlier this month while on stage at a speaking event in Utah.
The U.S. Department of Homeland Security has given the event a Special Event Assessment Rating Level 1 designation.
DHS and several other federal agencies are warning of possible security threats at the event from “violent extremists and unaffiliated lone offenders,” according to an unclassified assessment obtained by the Arizona Mirror.
The event begins at 11 a.m. MST.
Possible security threats “may view the memorial service or related events as attractive attack targets due to the attendance of these individuals, other senior US government officials, state and local government officials, and political activists, and due to major international media attention,” the assessment reads.
This Lower East Side hotel is not only in the centre of one of the city’s most eclectic boroughs, but is home to a live music venue, a rooftop bar, and an underground nightclub.
They say New York is the city that never sleeps, and this downtown hotel proves that. I stayed at the Moxy Lower East Side hotel, a haven for eclectic travellers looking to ditch high-brow Manhattan for a taste of the urban boroughs.
Located on Bowery, the Moxy is in the centre of the Lower East Side, with SoHo and Chinatown within walking distance. However, the true draw of the area is its lively atmosphere, with crowds filling the streets in the evenings as they sit outside bars, restaurants, and music venues.
Graffiti-filled corners and event spaces pack the area, which is the birthplace of American punk rock and new wave music. Paying homage to this, the Moxy Lower East Side has so many venues that you don’t need to leave to experience some of the borough’s rich culture.
Hotel guests have first dibs on reservations at the busy lounge, which offers bespoke cocktails and bites
“That’s where I go if I want a real night out with my wife,” a local tells me. “First, hitting the rooftop for a pre-drink, then dinner, before catching some live music, and then, if I’m up for it, I’ll go down to the club for a dance.”
It’s almost hard to believe all of that can be done in what’s known as Marriott’s budget-brand Moxy. But lo and behold, as you walk into the modern hotel, there is a piano lounge to the left. Silver Lining Lounge offers nightly acts, including bands, resident performers, and jazz acts in its soundproof location – where hotel guests have first dibs at reservations. BRIT Award winner Lola Young also performed at the venue earlier this year in what was her first NYC showcase, while chart topper Benson Boone has also graced the boards.
The Highlight Room is a rooftop bar at the hotel, with DJs, sunset views and cocktails on offer
With a large stage at the front of the room, the venue – owned by Tao Group hospitality – has table service and offers specialty cocktails alongside light bites such as tacos, fries and oysters.
Across the lobby is The Fix, which is your typical hotel bar filled with families, professionals catching up on work, and friends grabbing drinks. When it hits 9pm, a DJ arrives to lift the mood of the lobby, meaning you get a lively entrance if you’ve got a late check-in time.
Because of its location and modern design, the hotel is a hotspot for Instagram events – something which is in full swing on the Friday night I’m staying. “We’ve got a pop-up jewellery making class for influencers going on,” the hotel manager tells me as we slide past glamorous social media stars on the way to the lifts.
The Moxy Lower East Side hotel is home to a live music venue, a rooftop bar, and an underground nightclub
On the top floor of the 303-room hotel is the Highlight Room rooftop bar, which is bustling as I head up for a drink around sunset. With a DJ booth in the corner, indoor and outdoor seating, and an atmosphere that screams glamorous New York City, this is clearly a popular gem for locals looking to let loose after a busy week.
While the hotel doesn’t have a typical restaurant to grab some buffet food, it does have a high-brow modern Japanese eatery, which is well-known in the area and popular amongst celebrities. From sushi platters to wagyu beef and crown melon, Sake No Hana is truly a dining experience and rivals famous friend Nobu, which is just a 30-minute walk away.
We tried some of the mouth-watering sushi and wagyu beef on offer
Just when I thought there couldn’t possibly be any more nightlife under one roof, I was taken down to the Moxy’s subterranean nightclub, Loosie’s. The small venue is decked out with VIP booths and a sizable dancefloor, meaning visitors can party until 4 am and not have too far to go back to their rooms.
The Highlight Room, Loosie’s, and Silver Lining lounge all have separate entrances from the main hotel, meaning they’re not just for guests to enjoy. In fact, most of the guests inside the Moxy venues were locals taking in the music, food, and cocktails.
Book it
Moxy Lower East Side has rates from $179 (£133) per night. Book at moxylowereastside.com
NEW YORK — When the court lights flicker on at the U.S. Open, tennis stars shine under illumination designed to cut light pollution.
The wedge-shaped lamps around the USTA Billie Jean King National Tennis Center in Flushing Meadows direct light onto the players without spewing it into the surrounding skies.
The stadium complex is the only professional sports venue certified by a group that’s trying to preserve the night sky around the world. Across North America and Canada, schools and local parks have also swapped out their lights on baseball fields, running tracks and other recreation grounds to preserve their view of the stars and protect local wildlife.
Night lights can disrupt bird migration and confuse nocturnal critters like frogs and fireflies. Lights on sports fields are especially bright and cool, and often cast their glare into neighborhoods.
In renovations over the last decade, the U.S. Tennis Assn. swapped metal halide bulbs for shielded LED lights. The complex’s 17 tournament courts — including Arthur Ashe Stadium — and five practice courts were approved as dark sky-friendly last year.
USTA officials wanted the best lighting possible on their courts, which also happened to be friendly to dark skies. Their lighting company suggested striking a balance that would satisfy crowds and TV crews while cutting down spillover into the surrounding environment.
“This is an international event that has an impact on the community,” said the USTA’s managing director of capital projects and engineering, Chuck Jettmar. “Let’s minimize that and make sure that everybody’s happy with it.”
Designing lights for dark skies
U.S. Open qualifying matches last week were punctuated by players grunting, crickets chirping and audiences cheering. Rows of lights stood like sentries above, adorned with flat visors that guided the glow onto the action.
The lights at Flushing Meadows glow at a quarter of their brightness when the courts are rented for play during the year. They’re approved by DarkSky International, a nonprofit that gives similar designations to cities and national parks. The group widened its focus to include sports arenas in recent years and has certified more than 30 venues since 2019 — including high school football fields and youth soccer fields.
“We live in a world where we need to engage with one another in the nighttime environment, and that’s OK,” said DarkSky spokesperson Drew Reagan. “That’s a beautiful thing and there’s a way to do that responsibly.”
The organization typically approves proposals at sports fields before any light fixtures are installed or replaced. Once construction is complete, a representative measures the glow and glare against a set of guidelines that benefit the night.
Renovating a field with dark skies in mind can cost about 5% to 10% more than traditional sports lighting, according to James Brigagliano, who runs DarkSky’s outdoor sports lighting program. Venues may require a few extra fixtures since the light shining from them is more targeted.
Most arenas make the change during scheduled maintenance and renovation, working with sports lighting company Musco. The company lights more than 3,000 venues a year, including college football stadiums, tennis courts and rail yards.
At Superstition Shadows Park in Apache Junction, Ariz., kids play T-ball and baseball in the evenings, when the darkness offers a brief respite from the summer heat. The city’s parks and recreation department replaced its already-aging lights with shielded, dark sky-friendly fixtures last year with federal and local government funding.
People venture to Apache Junction partly because “they can get out of the city and still see stars,” said the city’s parks and recreation director, Liz Langenbach. The city is at the edge of the Phoenix metro area, bordered by rolling mountains and sweeping deserts.
“The choices we make on lighting, I think, affect all of that,” Langenbach said.
At Université Sainte-Anne in Canada, students run on a new track and soccer field outfitted with lights that DarkSky approved last year. Researchers at the university study native, nocturnal animals like the northern saw-whet owl.
The lights are “good for everyone,” said university spokesperson Rachelle LeBlanc. “For tourism, for our students, for our neighbors, for the animals that we share our campus with.”
How to cut light pollution
Night lights harm the surrounding environment no matter how shielded they are. DarkSky-approved fields still allow a small fraction of their light to be pointed up because it’s necessary to keep track of flying balls.
“You can have the absolute best, most carefully designed stadium lighting in the world, and you’re still creating light pollution,” said Travis Longcore, an urban light pollution expert at UCLA.
The U.S. Open courts are side-by-side with bright lights from Manhattan and Queens — so they can only darken a slice of the sky. But DarkSky says every light fixture makes a difference, and one professional arena can influence others.
“I’m not saying we as humans have to turn all the lights off,” said Longcore. “I think you have to make improvements from where you are.”
Ramakrishnan writes for the Associated Press. The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Department of Science Education and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.
Chaotic footage was captured Saturday night at Rose Bowl Stadium of a man brutally beating a woman in the stands during a Rüfüs Du Sol concert. Other concertgoers expressed shock over the incident, and some attendees said they were concerned about crowd control and safety measures at the sold-out show.
The video, shared by festival news platform Festive Owl, shows a man knocking a woman to the ground and repeatedly throwing punches at her while other attendees try to pull him back.
“This man punched me in the face, knocking me out and causing significant bleeding, while he continued attacking our group,” the woman wrote in a message shared by Festive Owl. She is asking for the public’s help in identifying the man after the attack, which took place in Section 12-H, Row 20 at the venue.
The victim said the man became agitated after a drink was accidentally spilled on him. According to the woman, he then yelled that the spill was intentional and stormed off before returning 30 minutes later screaming and threatening violence.
“I tried to calm the situation and apologized again — and the next thing I remember I woke up in a medical tent an hour later and missed the entire show,” the woman wrote.
The Australian electronic music trio said in a statement shared on social media Monday night that they were heartbroken to hear about the act of violence that took place during the opening act of their show. They encouraged anyone with information on the incident to contact the Pasadena Police Department.
“This type of behavior is completely unacceptable anywhere and the fact that this happened at one of our shows was devastating to hear about,” the group wrote. “Local law enforcement is actively investigating the situation.”
The concert organizers were criticized on social media, with fans complaining about long lines, the packed venue and poor crowd control, with some citing fears that it could have turned into a tragedy similar to the fatal crowd crush at 2021 Astroworld.
“It was honestly out of control. It was a circus. It was not safe, and I’m very angry,” a concertgoer identified as Derek told NBC4 News.
Christina Molina told KTLA News that the venue was so packed people were watching the show from the walkway.
“I literally had people pressed up against my back, all of them blocking that entire walkway,” she told the station. “Crowd control was nonexistent.”
More than 40 years after L.A. produced the most financially successful Olympic Games in history, the 2028 Summer Olympics will feature a new advertising revenue path for the Games.
In an Olympic first, venues used for the 2028 Olympics and Paralympics will be allowed to have corporate sponsor names after LA28 and the International Olympic Committee came to a tradition-bucking agreement announced Thursday.
Historically, the IOC has sought to limit corporate influence by keeping venues free from advertising. Major sponsors are still ubiquitous at the Games, where only Visa credit cards are accepted and Coca-Cola products monopolize the concession stands, but venues and fields of play have remained commercial-free. The traditional clean venue policy has forced L.A. organizers to refer to SoFi Stadium, which will host Olympic swimming, officially as “2028 Stadium” or “the Stadium in Inglewood.”
Not only will the new agreement help logistically by not requiring well-known venues to adopt generic temporary nicknames, but it will ease costs as existing signage can remain in place outside of the venue.
“Our job is to push and our job is to do what’s best for the Olympics in Los Angeles,” LA28 chairman Casey Wasserman told The Times. “Our job in those conversations [with the IOC] was to explain why this was more than just about money. It was about experience and value and opportunity.”
Wasserman said the private organizing committee has contracts for about 70% of the projected $2.5-billion domestic sponsorship goal. Any money that comes from the new naming opportunities are additions to the previously estimated revenue, Wasserman said. Needing to cover the budget of $7.1 billion, LA28 has added eight corporate sponsors this year, already surpassing the total from 2024.
“The momentum is meaningful and real,” Wasserman said. “We feel good about where we are, but we certainly don’t take that for granted.”
For venues that already have sponsorship names, such as Crypto.com Arena, BMO Stadium or the Intuit Dome, the existing company can sign on as a founding-level partner to retain its naming rights during the Games, the highest level of domestic sponsorship. Otherwise, the venue will be renamed without a sponsor.
The changes have already begun. LA28 announced that Honda Center will retain its name for the Olympic volleyball competition after the Japanese automaker established its deal with LA28 in June. Squash will make its Olympic debut at the newly named Comcast Squash Center at Universal Studios as the company also holds U.S. broadcasting rights to the Olympic and Paralympic Games.
Broadcasters can now refer to the venues with their corporate sponsor names, providing a major global stage. Any signage outside of the venue will remain in place for existing structures. Naming rights are available for the 19 temporary facilities with first bidding opportunities going to members of The Olympic Partners (TOP) program.
But the field of play will remain free from visible sponsorships.
“The IOC is always looking to recognize and support the critical role and contributions of Olympic commercial partners, both TOP and domestic. We also want to support LA28 in their efforts to create new approaches and commercial opportunities, whilst maintaining the principles of the ‘clean venue policy’ that is unique to the Olympic Games,” an IOC spokesperson said in a statement to The Times. “It is a reality that many venues in L.A. and in the U.S. already have commercial naming rights and have become commonly recognized as such by the general public. Therefore, following discussions, the IOC is supporting the LA28 initiative that takes into account market realities of venue naming and generates critical revenue to stage the Games.”
With less than three years before the Olympics open on July 14, 2028, the Games delivery process has come with challenges. Soon after the IOC’s coordination commission left the city to glowing reviews of LA28’s planning progress in June, immigration raids and protests began in Los Angeles. This month, President Trump named himself the chair of a task force to oversee the federal government’s involvement in the Games, but concerns about safety and visas for would-be international visitors have persisted.
In L.A., where the city recently closed a nearly $1-billion budget deficit, transportation updates have lagged behind and leaders are in negotiations with Olympic organizers about services including security, trash removal and traffic control. Though LA28 has promised to cover all expenses related to the Games, taxpayers still face potential risk.
If the group goes over budget, L.A. would be responsible for the first $270 million of the deficit.
Popstar Peter Andre has opened up about his terrifying experience of being stalked during a chat with his daughter Princess on her new ITV show, The Princess Diaries
Peter Andre recalled his experiences of getting stalked(Image: Ken McKay/ITV/REX/Shutterstock)
Peter Andre has opened up about a terrifying ordeal where he was targeted by a persistent stalker who sent him numerous death threats during his daughter Princess’ ITV show, The Princess Diaries.
During a deep chat with her dad, the 18-year-old opened up about the “weird messages” she received online – leaving Peter horrified. Princess revealed people would ask to see feet pics, with others asking if she was now legal.
Expressing why he was so worried Peter explained: “I had one stalker, who was a violent stalker that had threatened to kill me on one of the shows. I was touring with Bobby Brown, and on the night of the Sydney show, 26 police officers came and surrounded the building,” he said. It comes after Katie Price worries fans with appearance in family photo after explaining weight loss.
Peter described the terrifying ordeal to his daughter (Image: ITV)
“They thought the guy was going to come and kill me that night,” Peter explained, leaving his daughter in utter shock. He then revealed he was 19 at the time.
Peter has previously spoken about the terrifying ordeal, shortly after Strictly’s Shirley Ballas‘ stalker, Kyle Shaw, had been sentenced.
Kyle Shaw, 37, pleaded guilty at Liverpool’s Crown Court on February 25, admitting the charges that took place between August 31, 2017, and November 9, 2023.
In his column for OK!, the father-of-five shared his own chilling experience with a stalker, which led to 26 police officers being called to the venue where he was performing in Australia due to the barrage of death threats he had received.
He penned: “I was reading about Shirley Ballas’s stalker avoiding jail. It’s strange – I think some people read these terrible stories and somehow don’t believe they’re real. They’re very real. It happens to a lot of people in the public eye.”
Princess and Peter share a close relationship(Image: INSTAGRAM)
He went on to say: “Now, you may not believe me but it happened to me. In 1992 or 93, I was touring with Bobby Brown in Australia.
“At one of the concerts in Sydney, there were 26 police at the venue who were present on this particular night because of a series of death threats that had been made to me from someone who’d been stalking me for a long time. One day, I’ll tell the whole story..”
Peter previously demanded action to “eliminate” the crime of stalking following Shirley’s terrifying experience which grabbed headlines.
In an earlier column, the pop star revealed he’d “seen a lot of stories about stalking”, including a disturbing incident involving tennis ace Emma Raducanu.
The 22 year old was compelled to halt a match against Karolina Muchova at the Dubai Tennis Championships after spotting a man in the crowd who had given her a letter at her hotel the day before.
“It’s really interesting because stalking has been going on for years,” Peter said.
“I remember the 1992 movie, The Bodyguard, focused on the stalking of celebrities. Social media isn’t helping, as it makes it easier to track someone down. But this has been going on for a long time and I hope we find a way to eliminate this sort of thing. My thoughts are with both Shirley and Emma.”
Out on the moody, flame-licked front patio of Mojave Gold in Yucca Valley, Ryan and Alexis Gutierrez took in their first goth show in their new neighborhood.
The couple had just moved to the high desert from the Inland Empire, and given the considerable face tattoo count between them, they’d been looking for some witchy fellow travelers.
After watching the electro project Tantra Punk’s set — a singer marauding across the stage, fogged over with blood-colored lights — the couple passed by a merch booth hawking fresh herbs planted in tiny metal pots. The two were pleasantly surprised they’d found their people here.
“I didn’t even know there was a scene for this out here,” Alexis said. “I literally just passed this place and thought it looked hip. We used to drive to San Diego for something like this.”
“It’s kind of slower out here in the desert, but there’s things like this that make it fun,” Ryan said, “Being in the alternative scene, having shows like this is really important to us.”
The six-week-old Mojave Gold is the most promising new entry in a desert music scene that, lately, has seen its share of high-stakes ownership drama at venues like Pappy & Harriet’s and the Alibi. Mojave Gold’s owners are betting on a more permanent, independent-minded scene for local acts and edgier nightlife in its wake.
“A part of why we moved here 10 years ago was that there are so many amazing musicians, and a lot more people live here now,” said the venue’s co-owner Cooper Gillespie. “I’m like, ‘Yes, bring on all the amazing music venues and new places for the music community to be.’”
The bar inside the nightclub is decorated in gold colors at Mojave Gold, a brand new music venue near Joshua Tree that’s counting on a continued interest in year-round nightlife in the fast-gentrifying area.
(Gina Ferazzi / Los Angeles Times)
While Joshua Tree is famous for its rough-and-tumble (if sometimes set decorated) roadhouse aesthetic, Mojave Gold looks more like it zigged left up the 111 from Palm Springs. A black and gilt disco vibe permeates the 500-capacity space, from the undulating wood ceiling made from salvaged Hollywood Bowl seats to velveteen booths and a winking poster advertising Quaaludes.
“There’s a purposeful make-out corner,” said Mojave Gold’s interior designer Brookelyn Fox, wryly arching her eyebrows toward the rear of the venue.
Mojave Gold’s attached restaurant is worth a visit in its own right (a cactus and citrus ceviche, charred cauliflower steak and a chocolate mole custard looked especially eye-catching). But in a small town with an outsize presence on the region’s music scene, it could help turn the area into a year-round tour stop in its own right and become a new festival-season mainstay.
“If you’ve got all these bands playing Coachella every year, well, only one of them is going to be able to play Saturday night at Pappy’s,” said Dale Fox, who manages the venue’s financing. “Now, there’s another place.”
Landers residents Gillespie and her Mojave Gold co-founder Greg Gordon are both former Pappy’s employees, working under longtime owners Robyn Celia and Linda Krantz. They suspected there was room for more live music than that beloved and hotly contested venue could handle year-round. They had their eyes on the former AWE Bar space since it closed after a brief run in 2023, with ambitions to rebuild it into a locals-first venue.
Patrons gather in the outdoor patio adjacent to the nightclub at Mojave Gold.
(Gina Ferazzi / Los Angeles Times)
“The space and the time we’ve had is so much more than we could have done in L.A.” Gillespie said. “Everything takes a lot of time and money in the city, and out here, I feel like there’s a lot more space in all aspects of your life to create. We’ll have national acts, but also bring up our local talent and give them opportunities to have a place to call their own.”
They got lucky when Liz Garo, the talent buyer for the late, lamented Alibi in Palm Springs, was unexpectedly free and looking for a new project in the area after decades booking the Echo, Regent and other venues in Los Angeles. The shows so far have spanned the modern desert’s full range of scenes — country dance nights, the scuzzy punk of Throw Rag, cabaret drag acts and gothic folk from Blood Nebraska.
“It was a part of some music scenes where you didn’t even know who’s playing, but you went to the Echo because you knew all your friends were going to be there,” Gillespie said. “That’s what we want this place to be.”
Mojave Gold arrives as a new crop of nightlife spots have opened to serve both desert lifers and newcomers to the small towns near Joshua Tree National Park. The Red Dog Saloon, Más o Menos and the ad hoc gay bar Tiny Pony Tavern have found their footing for more ambitious desert nightlife. There’s still room for more, Gordon said.
“The big surprise for me when we opened, is that there was not one moment where I felt a sense of competition,” Gordon added. “None of the other restaurants or venues had this kind of cutthroat mentality. There’s no zero-sum thinking. I think we’re still so young out here that … everybody adds something to the market.”
Patrons dance to music from local artists on Desert Gothic night at Mojave Gold.
(Gina Ferazzi / Los Angeles Times)
But passions about development run deep out here, especially after the pandemic-fueled boom in property flipping. The sad fate of the now-shuttered Alibi, the brutal court skirmish over Pappy’s and the gleaming nearby Acrisure Arena (which just landed the kickoff date and sole SoCal stop of Paul McCartney’s tour) prove that moneyed interests still have their eye on the area’s land and cultural scene.
For now though, the string of little desert towns are happy the Airbnb flippers have taken a beating and longer-term visions for local culture are taking root. “Shout-out to the city government in Yucca,” Gordon said, saluting. “They’re constantly thinking of ways to beautify the area and respect Old Town and encourage curated growth.”
Patrons dance to Tantra Punk on Desert Gothic night at Mojave Gold.
(Gina Ferazzi / Los Angeles Times)
The Mojave Gold team hopes that this sometimes-shaky boomlet of independent music in the desert can foster a scene like Silver Lake’s in the early 2000s — big enough to be nationally influential, but neighborhood-y enough to roll in twice a week and see where the evening takes you. Even if it’s straight to hell on goth night.
“A big part of those scenes were free or very inexpensive nights when you even if you didn’t have a lot of money, you could go out and have a great time,” Gillespie said. “I hope that the focus here is on fostering the local creative community and not just profiting.”
The 2028 Games will be the largest in modern Olympic history. L.A. will host the Paralympics for the first time. The proper stage for the more than 15,000 athletes competing in 2028 requires more than just Hollywood’s most iconic landmarks.
From the Pacific Ocean to the San Gabriel Mountains to the great plains in Oklahoma, the L.A. Olympics will use more than 30 venues to host 36 sports and 52 disciplines in the largest Games program in modern Olympic history. While the Olympic footprint sprawls across multiple states, the Paralympics will take place in a compact 35-mile radius encompassing L.A., Carson, Long Beach and Arcadia.
Olympic venues for mountain biking, race walking and soccer preliminaries have yet to be announced, along with sites for para weightlifting, para cycling road and the course and finish line of the para marathon. Soccer group-stage games will be played in stadiums across the country before the tournament returns to the Rose Bowl for the medal games.
As the final plan takes shape, here’s a look at where the Olympic and Paralympic Games will be held in 2028.
The Mayan, a popular music venue and nightclub in downtown L.A., announced Monday morning that it will be closing under its current management after a 35-year run.
“It is with heavy yet grateful hearts that we announce The Mayan will be closing its doors at the end of September, after 35 unforgettable years,” read a statement from the venue’s Instagram page. “To our loyal patrons, community and friends: thank you for your unwavering support, your trust and the countless memories we’ve created together. You made every night truly special.”
The announcement also called on longtime and potentially new patrons to celebrate the club’s final months in fashion, with weekly Saturday dance nights through Sept. 13.
It is currently unknown what, if anything, the historic venue will be used for after the Mayan shutters.
The Mayan did not immediately respond to The Times’ request for information.
The Mayan Theater — located at 1038 S. Hill St., next door to the Belasco — first opened Aug. 15, 1927, with a performance of George Gershwin’s Broadway musical “Oh Kay.” As its name alludes to, the theater is one of the best known examples of the Mayan Revival architectural movement that took place in the U.S. during the 1920s and 1930s, which drew inspiration from pre-Columbian Mesoamerican structures.
As The Times reported in 1989, the giant bas-relief figures on the venue’s exterior are of the Maya god Huitzilopochtli seated on a symbolic earth monster. The three-tiered chandelier in the theater — rigged for red, blue and amber lights — is a replica of the Aztec calendar stone found near Mexico City. The design of tapered pillars was inspired by the Palace of the Governors at Uxmal, a Maya ruin on Yucatán Peninsula dating from AD 800.
Mexican anthropologist and sculptor Francisco Cornejo assisted the architects to craft a building that was based on authentic designs of pre-Columbian American societies.
During the Great Depression, the theater was rented out to the Works Projects Administration, which operated it as an Actors Workshop theater. In 1944, Black producer, director and entrepreneur Leon Norman Hefflin Sr., staged a production of the popular and well-reviewed musical “Sweet ‘N Hot,” which starred Black film and stage icon Dorothy Dandridge.
The Fouce family gained ownership of the theater in 1947 and shifted the venue’s programming toward Spanish-language film screenings and performers. By the early 1970s, Peruvian-born filmmaker and actor Carlos Tobalina gained ownership of the theater and changed the programming to focus on pornographic and X-rated films.
In 1990, the Mayan was brought under new management and inhabited its current form as a nightclub and music venue. The city has since declared the building as an official L.A. Historic-Cultural Monument.
The Mayan has been used as a shooting location for many film productions, including the 1992 box-office smash “The Bodyguard,” starring Kevin Costner and Whitney Houston; the 1998 skit-to-feature film “A Night at the Roxbury;” the 1979 Ramones-led musical comedy “Rock ‘n’ Roll High School;” and, most recently, the Netflix wrestling-themed series “GLOW.”
In recent years, the Mayan has played host to the cheeky lucha libre and burlesque show called Lucha VaVoom de La Liz and has held concerts by acts such as Jack White, M.I.A. and Prophets of Rage.
AVP, the biggest and longest-running professional volleyball league, will play matches in an NBA arena for the first time this weekend in Inglewood.
A crew picked up 16 dump truck loads from a quarry in Palm Springs, delivering 300 tons of sand into the Intuit Dome for AVP League matches on Friday and Saturday.
The crew constructed a wooden sandbox barrier to protect the arena floor. The sand, pre-washed and compacted upon arrival, was dumped into an 18-inch wooden frame, with elements such as hospitality added to help remove debris from the air.
A worker prepares sand at the Intuit Dome ahead of an AVP tournament.
(Allen J. Schaben / Los Angeles Times)
“If all goes well, it’s about a six- to eight-hour build from start to finish with the court,” said Logan Dan, head of operations for AVP Professional Beach Volleyball Tours. “It takes about six hours to build the court specifically.”
Once the event concludes, the crew dismantles the frame and removes the sand using equipment that looks like a modified small tractor.
“We break the box open and use a skid steer with a box broom attachment — it sweeps up a lot of the sand,” Dan said.
Although indoor beach volleyball is unusual, the AVP’s new league model — introduced last year — has made it possible to bring tournaments to unconventional venues. The league is investing in creative ways to grow accessibility and exposure.
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1.One of many trucks makes its way through the Intuit Dome to deliver sand in preparation of an AVP league event.2.Workers slowly cover the floor of the Intuit Dome with sand.(Allen J. Schaben / Los Angeles Times)
“What that has allowed us to do is to bring volleyball into different areas that it might not be,” Dan said. “For instance, we’re going to New York next week, and we’ll be putting a court in Central Park, right in Wollman Rink, where they normally have ice skating in the winter and pickleball in the summer.”
Conditions for beach volleyball differ significantly between outdoor and indoor play. Sun, wind and heat heavily influence outdodor players’ performance and court dynamics. Indoors, the environment remains cooler and still, free from elements such as whipping winds or scorching sun.
“It’s so close and loud and intimate that it creates that very cool environment,” Logan said.
AVP declined to disclose what it costs to build courts in unconventional locations such as the Intuit Dome.
Logan said AVP staff hope fans will enjoy a fun, family-oriented community environment that features more seats close to the action than a typical beach volleyball court.
Workers cover the floor of the Intuit Dome with sand ahead of an AVP league event.
(Allen J. Schaben / Los Angeles Times)
The schedule
AVP League matches start Friday at 5 p.m. with the L.A. Launch playing the San Diego Smash in the first match.
Doors open Saturday at 4 p.m., with the Palm Beach Passion playing the L.A. Launch during the first match.
Tickets started at $43.50 apiece.
What’s at stake
The AVP League format differs from traditional tournaments. A men’s duo and women’s duo represent a city and their combined records determine position in league standings. At the end of league play, one of eight cities will be crowned the AVP League champion. The playoffs feature a postseason tournament seeded based on each duo’s record during the season. The tournament splits into male and female competition groups, with the winning duo in each group earning the top prize.
The top two teams in the league standings are the L.A. Launch and the Palm Beach Passion. L.A. Launch is undefeated, while Palm Beach Passion is 6–2.
Who is playing in Inglewood?
Four of the league’s eight city teams will be represented. The lineup includes numerous Olympians, USC alums and a former NBA player.
No. 1 L.A. Launch Men: Hagen Smith and Logan Webber | Women: Terese Cannon and Megan Kraft
No. 2 Palm Beach Men: Trevor Crabb and Phil Dalhausser | Women: Melissa Humana-Paredes and Brandie Wilkerson
No. 6 San Diego Smash Men: Chase Budinger and Miles Evans | Women: Abby Van Winkle and Geena Urango
No. 8 Miami Mayhem Men: Chaim Schalk and James Shaw | Women: Kelly Cheng and Molly Shaw
Jewel Thais-Williams, the founder of the pioneering Black lesbian and queer nightclub Jewel’s Catch One in Los Angeles, has died. She was 86.
Thais-Williams’ death was confirmed by KTLA and by several friends and employees of the club. No cause of death was immediately available.
For decades, the Mid-City nightclub — known to regulars as The Catch — was L.A.’s hallowed sanctuary for Black queer women, and a welcoming dance floor for trans, gay and musically adventurous revelers. Artists like Ella Fitzgerald, Madonna and Whitney Houston sashayed down Catch One’s winding halls, while the indomitable Thais-Williams fended off police harassment and led care programs during the height of the AIDS crisis.
The Catch was singularly important to the development of Black and queer nightlife in L.A., and belongs beside New York’s Paradise Garage and Chicago’s Warehouse in any account of the most important nightclubs in America.
“It was a community, it was family,” Thais-Williams told The Times in a 2018 interview. “To be honest myself, I was pretty much a loner too. I always had the fears of coming out, or my family finding out. I found myself there.”
Thais-Williams, born in Indiana in 1939, opened Jewel’s Catch One in 1973. She didn’t have ambitions to open a generationally important nightclub, just a more resilient business than her previous dress shop. However, her experience of being shunned as a Black woman by other local gay clubs bolstered her resolve to make the Catch welcoming for those left out of the scene in L.A.
Jewel’s Catch One on West Pico Boulevard.
(Ricardo DeAratanha / Los Angeles Times)
“I didn’t come into this business with the idea of it becoming a community center,” she said in 1992. “It started before AIDS and the riots and all that. I got the first sense of the business being more than just a bar and having an obligation to the community years ago when Black gays were carded — requiring several pieces of ID — to get into white clubs. I went to bat for them, though I would love to have them come to my place every night.
“The idea is to have the freedom to go where you want to without being harassed. The predominantly male, white gay community has its set of prejudices. It’s better now, but it still exists.”
Jewel’s Catch One became a kind of West Coast Studio 54, with disco-era visionaries like Donna Summer, Chaka Khan, Sylvester, Rick James and Evelyn “Champagne” King performing to packed rooms. Celebrities like Sharon Stone and Whoopi Goldberg attended the parties, glad for wild nights out away from the paparazzi in Hollywood.
Thais-Williams “opened the door for so many people,” said Nigl “14k,” the Catch’s manager, doorperson and limo driver for 27 years up until its sale in 2015. “A lot of people that felt not wanted in West Hollywood had nowhere to go. But people found out who she was and put word out. She was a great friend and a shrewd businessperson who allowed people to just be themselves.”
The club’s many rooms allowed for a range of nightlife — strip shows, card games and jazz piano sets alongside DJ and live band performances [along with Alcoholics Anonymous meetings]. The boisterous, accepting atmosphere for Black queer partiers contrasted with the constant surveillance, regulation and harassment outside of it.
“There was a restriction on same sex dancing, women couldn’t tend bar unless they owned it,” Thais-Williams said in 2018. “The police were arresting people for anything remotely homosexual. We had them coming in with guns pretending to be looking for someone in a white T-shirt just so they could walk around.”
A fire in 1985 claimed much of the venue’s top floor, closing it for two years. Thais-Williams suspected that gentrifiers had their eye on her building.
“It’s very important not to give up our institutions — places of business that have been around for years,” she said. “Having a business that people can see can offer them some incentive to do it for themselves. I’m determined to win, and if I do fail or move on, I want my business to go to Black people who have the same interest that I have to maintain an economic presence in this community.”
Thais-Williams’ AIDS activism was crucial during the bleakest eras of the disease, which ravaged queer communities of color. She co-founded the Minority AIDS Project and served on the board of the AIDS Project Los Angeles, which provided HIV/AIDS care, prevention programs and public policy initiatives.
With her partner, Rue, she co-founded Rue’s House, one of the first dedicated housing facilities in the U.S. for women living with HIV. The facility later became a sober-living home. In 2001, Thais-Williams founded the Village Health Foundation, a healthcare and education organization focused on chronic diseases that affected the Black community.
Jewel Thais-Williams in 2015.
(Katie Falkenberg / Los Angeles Times)
“Jewel is a true symbol of leadership within our community,” said Marquita Thomas, a Christopher Street West board member who selected Thais-Williams to lead the city’s Pride parade in 2018. “Her tireless efforts have positively affected the lives of countless LGBTQ minorities, [and her] dedication to bettering our community is truly inspiring.”
After decades in nightlife, facing dwindling crowds and high overhead for a huge venue, in 2015 Thais-Williams sold the venue to nightlife entrepreneur Mitch Edelson, who continues to host rock and dance nights in the club, now known as Catch One. (Edelson said the club is planning a memorial for Thais-Williams.)
“People in general don’t have appreciation anymore for their own institutions,” Thais-Williams told The Times in 2015. “All we want is something that’s shiny because our attention span is only going to last for one season and then you want to go somewhere else. The younger kids went to school and associated with both the straight people and non-Blacks, so they feel free to go to those spots. The whole gay scene as it relates to nightclubs has changed — a lot.”
After the sale, the importance of the club came into sharper focus. A 2018 Netflix documentary, “Jewel’s Catch One,” produced by Ava DuVernay’s company Array, highlighted The Catch’s impact on Los Angeles nightlife, and the broader music scene of the era. When Thais-Williams sold it, the Catch was the last Black-owned queer nightclub in the city.
In 2019, the square outside of Jewel’s Catch One was officially named for Thais-Williams.
“With Jewel’s Catch One, she built a home for young, black queer people who were often isolated and shut out at their own homes, and in doing so, changed the lives of so many” said then-City Council President Herb Wesson at the ceremony. “Jewel is more than deserving to be the first Black lesbian woman with a dedicated square in the city of Los Angeles for this and so many other reasons.”
L.A.’s queer nightlife scene is still reeling from the impact of the pandemic, broader economic forces and changing tastes among young queer audiences. Still, Thais-Williams’ vision and perseverance to create and sustain a home for her community will resonate for generations to come.
“Multiple generations of Black queer joy, safety, and community exist today because of Jewel Thais-Williams,” said Jasmyne Cannick, organizer of South L.A. Pride. “She didn’t just open doors — she held them open long enough for all of us to walk through, including this Gen-X Black lesbian. There’s a whole generation of younger Black queer folks out here in L.A. living their best life, not even realizing they’re walking through doors Jewel built from the ground up.”
“Long before Pride had corporate sponsors and hashtags, Jewel was out here creating space for us to gather, dance, organize, heal, and simply exist,” Cannick continued. “We owe her more than we could ever repay.”
Thais-Williams is survived by her wife and partner for 40 years, Rue.
Back in the worst pandemic days of 2020, Elizabeth Garo and Melanie Tusquellas were terrified they would lose their nightclub.
The co-owners of the Alibi — an independent music venue with space for up to 300 people in downtown Palm Springs — opened in late 2019, just before COVID-19 shut down the live music scene.
Garo was a former booker for the Regent, Echo and Echoplex in L.A. (She also opened Stories Books in Echo Park.) Tusquellas was a hospitality veteran behind Los Feliz’s El Chavo and Silver Lake’s historic Edendale restaurant. The two said they had invested hundreds of thousands into renovating and opening the Alibi.
“It’s difficult to run a small independent venue any time, and during COVID it was particularly hard,” Garo recalled in an interview. “A lot of them didn’t make it.”
Garo heard that Marc Geiger, then a WME music executive she had known and worked with for decades, and former WME board member John Fogelman had founded Save Live, a company investing in independent venues to help them survive the pandemic.
When Save Live offered to buy 51% of the Alibi and let the co-founders continue to run it, the deal “felt like such a relief,” Garo said. “It felt like a lifeline, like, ’Hey, we’re gonna make it.’”
Instead, Garo and Tusquellas claim in a 2023 lawsuit and an interview with The Times that the partnership ruined them. Their lawsuit, which seeks compensatory damages, alleges that Geiger and Fogelman negotiated the deal in bad faith, forcing them out of the company’s operations soon after the purchase. After briefly reopening in 2022, the club permanently closed later that year. A trial is set for August.
Attorneys for Save Live, which has since rebranded as Gate 52, declined to comment when reached by email.
In a cross-complaint to the suit, Geiger and Fogelman say Save Live “bent over backwards to try to resolve the parties’ differences” and call Garo and Tusquellas’ claims “salacious — and utterly false — allegations of misogyny and bad faith.”
The suit raises questions about the future of local indie music venues like the Alibi and about Save Live’s intentions. Does the firm rescue troubled venues or capitalize on their financial vulnerability?
Gate 52 now owns 13 music venues across the country, including Electric City in Buffalo, N.Y., the Eagles Ballroom in Milwaukee and the Criterion in Oklahoma City. In California, the firm owns the Fremont Theater in San Luis Obispo and the Golden State Theatre in Monterey, and collaborates with dozens more “network venues” across the country.
The firm is a far cry from giants like Live Nation or AEG. But as a well-capitalized operation that has acquired majority stakes in struggling small venues, it has become a significant player in secondary markets.
The two-story, Spanish colonial-style building that would become the Alibi first opened as a switchboard hub for the GE Telephone Co. in the 1920s. Later, it became Georgie’s Alibi Azul, a popular gay bar and restaurant.
In 2018, Garo and Tusquellas, both wisecracking Gen X veterans of L.A. nightlife, were looking for “a swan song” for their careers, as Tusquellas described it. Garo, one of the most influential talent bookers in L.A. for decades, had been laid off from Live Nation after the mega-promoter bought local promoter Spaceland Presents.
After touring the Alibi, Garo and Tusquellas saw potential for a venue like the ones they’d built in L.A., a place to book local and global artists in a creatively adapted old building.
“We were surprised by how chic and international Palm Springs was becoming,” Tusquellas added. “Growing up in L.A., when we went to Palm Springs as kids, it was like God’s waiting room. But we were quite surprised by this scene with all these local musicians but no venues to play at.”
Alibi soft-launched with packed Pride events in fall 2019 (to avoid the summer heat), and formally opened in October. With its glazed-tile outdoor bar and emerald-hued mood lighting, the venue was a chic standout in desert nightlife.
“We had everything from ‘Dynasty’ theme parties to Modernism Week events,” Tusquellas said. “We had a goth night. There had never been a place to go for them in Palm Springs and they came out of the woodwork.”
Local musicians hoped the venue would be transformative for their scene.
“Alibi was the first place where we got a taste of the real deal,” said Spencer Stange of the band Host Family, which booked a monthly night of experimental music at Alibi. “It was the only venue I knew there that was legitimate and professional. Good bands played there and you could do a real sound check. They were so hospitable, it felt like a home base.”
Louise Minnick, a local promoter with Lesbo Expo, said Alibi was an important venue for queer women in the desert.
“Liz and Melanie went out of their way to make our events special,” Minnick said. “They offered their patio for women to have first access to watch Pride, which meant a lot to me.”
Five months later, the pandemic annihilated those plans.
Garo and Tusquellas said their company, 369 Palm Inc., was too new to access the federal patchwork of Paycheck Protection Program loans. They eventually got a grant from the National Independent Venue Assn., but it was for only $20,000. According to a slide deck cited in Save Live’s cross-complaint, the venue had $250,000 in outstanding bills from the shutdown.
“We used all our savings to pay the rent,” Tusquellas added. “We’re entrepreneurs who are not funded by big people, so we had to pay the $15,000 a month rent ourselves for a year and a half. It was really hard.”
Meanwhile, Save Live launched in 2020 with $135 million raised from venture capital firms and a clear mission: to buy majority stakes in small clubs.
“Save Live’s business model was to invest in local, independent, ‘mom and pop’ live music venues, providing critically needed financial relief and funds to renovate dated facilities to bring them back stronger than ever before,” the company says in its cross-complaint.
Save Live’s founders were well-known in L.A. entertainment. Geiger co-founded the Lollapalooza festival and led WME’s music division from 2003 until 2020. Fogelman was the former head of motion pictures at William Morris Agency and a founding board member when it merged with Endeavor to become WME. The Alibi was one of Save Live’s first venue deals.
“Being able to partner with Save Live is a dream come true,” Garo said in a 2021 announcement. The deal let the two owners “stay true to our roots knowing we have their full support. … It doesn’t hurt that we’ve known some of the people at Save Live for years — we all came up through the business together.”
“I didn’t know Marc at all, but he was very charming,” Tusquellas said. “He and Fogelman were titans of the industry. We felt that we were in very good hands. We knew what we were doing, and they knew that.”
According to the suit and cross-complaint, Garo and Tusquellas’ company, 369 Palm Inc. (with partner David Gold), agreed to sell 51% of their ownership of the Alibi’s business to Save Live for $400,000. The Alibi’s business would be co-owned under a new company, Alibi Venue Operations LLC. Garo and Tusquellas say in their suit that, under this agreement, the pair and Geiger “would have decision-making authority over the day-to-day operations.”
Garo and Tusquellas claim in their suit that 369 Palm “retained 100% ownership of [the Alibi’s] ABC liquor license” and would continue to manage the venue’s bar. Save Live agreed to provide $565,000 for renovations and expenses, according to Save Live’s cross-complaint.
Garo and Tusquellas’ suit claims that Save Live had “hatched a plan to exploit the weakness in the independent live music industry to try, by means of deception and then intimidation, to acquire The Alibi and its business without paying a fair price.”
Scott Timberlake, the Alibi building’s landlord, said he had a friendly relationship with Garo and Tusquellas. But once Save Live got involved, he said, “I was really surprised by Save Live’s ego and entitlement. When I asked to see their financial statements before taking over the lease, they lectured me about ‘Don’t you know who we are?’”
Garo and Tusquellas say in their suit that, when the venue reopened on April 1, 2022, “SL Alibi acted as if it were the sole owner.” They claim in their suit that Geiger and Fogelman contracted with an outside ticketing company, Tixr, without Garo’s consent, and that Save Live didn’t sufficiently fund day-to-day operations. Garo and Tusquellas claim in their suit that Save Live switched to its own accountant for bookkeeping and backed out of a plan to hire a general manager.
In its cross-complaint, Save Live says that “contrary to the claims in their lawsuit, Save Live did not try to take over the Venue.” Save Live says “Tusquellas and Garo had gone significantly over the pre-opening budget, resulting in … an operating budget shortfall.”
According to Save Live’s cross-complaint, private investigators discovered “a separate, undisclosed cash register used only for cash transactions … there was no record, whatsoever, of any such sales.” The cross-complaint alleges that Tusquellas “embezzled most of (if not all) of the cash sale proceeds.”
Tusquellas denied the embezzlement claims, saying all sales, including cash, were accounted for and reported as income.
Save Live says in its cross-complaint that both parties “always understood and intended for 369 to transfer” the venue’s valuable liquor license, and called Garo and Tusquellas’ refusal to do so “a ruse to get Save Live’s money.”
Garo and Tusquellas said they never sold, or intended to sell, the venue’s liquor license. “That may have been part of Save Live’s secret plan,” said 369 Palm’s lawyer, David Sergenian. “But that was never agreed to.”
On July 13, 2022, Garo and Tusquellas’ lawsuit says “Geiger and Fogelman called a meeting of the Board … as a pretense to ambush Tusquellas and Garo with false accusations. Geiger and Fogelman…falsely accus[ed] Tusquellas of embezzling funds from the company to enrich herself.”
“Fogelman aggressively threw a chair to the ground, as he raged,” the suit says. “Tusquellas and Garo were appalled by Fogelman’s shocking behavior and scared for their future, as he was threatening to ruin the business by shutting down The Alibi.”
Garo and Tusquellas’ suit claims Geiger and Fogelman ordered the venue shut down and that Garo and Tusquellas be removed from operations with their salaries cut off. The bar staff would be fired and 369 Palm’s concessionaire agreement canceled, according to the suit.
The Alibi closed on July 25, 2022. It never reopened.
The situation at the Alibi echoes the tumult surrounding the ownership of the beloved Pioneertown venue Pappy & Harriet’s. Starting in 2021, Knitting Factory Chief Executive Morgan Margolis and partners Stephen Hendel and John Chapman battled the venue’s co-partners, Joseph Moresco and Lisa Elin, about who controlled the operations at the rustic venue, where acts as big as Paul McCartney and Robert Plant have played in addition to hardscrabble desert locals. Margolis prevailed in late 2024.
Meanwhile, the new Acrisure Arena, built by mega-manager Irving Azoff and former AEG President Tim Leiweke, attracts A-list pop, rock and Latin acts to Palm Springs. The nearby Yaamava’ resort has spent millions on top talent.
“It’s great to have an influx of money and big artists at venues like Acrisure Arena that helps the Valley feel bigger. But losing small venues is detrimental and cuts away at the uniqueness of the experiences people have here,” said Kristen Dolan, executive director of the California Desert Arts Council, a nonprofit group advocating for cultural development in the Coachella Valley.
“Places like Alibi have a bigger impact than people think. The workforce here is largely in hospitality, and clubs like the Alibi are important places to start out,” Dolan said. “People were really upset when the Alibi closed, and it was heartbreaking for artists cultivating their community. The economy here is unstable right now and I hope we don’t lose more small venues like it.”
Former Alibi owners Liz Garo, left, and Melanie Tusquellas at Silver Lake’s Edendale restaurant.
(Annie Noelker / For The Times)
The post-pandemic future for such independent live venues is unsettled. Nonprofits like NIVA were effective advocates for legislation (like the $16.25 billion Shuttered Venue Operators Grant, a federal program that gave money to struggling venues) and fundraising, and concert attendance boomed once venues reopened. But inflation, reduced tourism and a volatile economy threaten to keep fans home.
“What word describes our situation right now? I would offer that one word is ‘unknown,” NIVA’s executive director Stephen Parker said at the group’s 2024 conference. “Forty years ago, independent stages were the norm, now multinational, publicly traded conglomerates are. Everyone in this room knows that competition is a misnomer and the increasing lack of it is, perhaps, our greatest threat.”
Meanwhile, Garo and Tusquellas have returned to L.A., picking up the pieces at an unexpectedly late phase of their careers. Garo will book shows at a new independent Yucca Valley venue, Mojave Gold.
Building owner Timberlake said that after months of fighting with Save Live over the venue’s debts, he accepted a settlement, and a new restaurant tenant has moved into the Alibi.
“I didn’t have the financial capability of fighting someone like Save Live,” he said. “It was just so unnecessarily negative.”
No matter how the August trial ends, Garo and Tusquellas are facing the same headwinds as the rest of the live industry. Only now, they are truly on their own.
“I have lots of ideas,” Garo said. “But that’s all kind of locked up until we get this resolved. I don’t want this to be my final chapter.”
In a sprawling county where transit lines are sometimes miles apart, transit leaders’ plans for the 2028 Olympics and Paralympics rely on a robust fleet of buses to get people to and from venues and avoid a traffic meltdown.
The plan hinges on a $2-billion ask of the Trump administration to lease 2,700 buses to join Metro’s fleet of roughly 2,400, traveling on a network of designated lanes to get from venue to venue. But with roughly three years to go until opening day, the plan faces several challenges over funding and time.
The federal government has yet to respond to the city’s request. And Metro’s commitment to lease clean energy buses could pose supply problems and challenges around charging infrastructure. Operators would also need to be trained under state regulations and provided housing through the Games.
“Three years might seem like a lot of time to many of us, but in municipal time, three years is like the blink of an eye. That’s our greatest challenge.” said Daniel Rodman, a member of the city of L.A.’s office of major events, at a recent UCLA transit forum. “Father Time is coming.”
The Games will be scattered in places across the region including Alamitos Beach in Long Beach, the Rose Bowl in Pasadena, Santa Anita Park in Arcadia, the L.A. Coliseum and Dodger Stadium in Los Angeles and outside the county in Anaheim and all the way to northern San Diego County. Official watch parties and fan gatherings will also occur throughout the metropolis. Since these and many of the venues aren’t directly accessible by rail, the bus system will be key to the city’s push for “transit first” — a motto that city leaders have adopted since Mayor Karen Bass’ previous messaging around a “car-free Olympics.”
The bus system will be key to the city’s push for “transit first.”
(Gabriella Angotti-Jones / Los Angeles Times)
Outside the bus system, several transit projects in the works are expected to ease some of the traffic burden, including the extension for the Metro D Line, also known as the Purple Line, which Metro has slated for completion before the Olympics, and the opening of the automated people mover train at Los Angeles International Airport, which will offer an alternative to driving to the airport. There are also proposals for water taxi use from San Pedro to Long Beach, where multiple events will be held, to offer an alternative to the Vincent Thomas and Long Beach International Gateway bridges.
The big question is whether enough people in a famously auto-bound city will be willing to take public transit. Leaders believe that tourists are likely to take advantage of the system, and hope more Angelenos will too.
“All of our international visitors know how to ride public transportation — it’s second nature for our people coming from other countries,” county Supervisor and Metro board Chair Janice Hahn said at a recent UCLA forum, pointing to the Paris Olympics and the city’s long use of public transit. “It’s the Angelenos that we’re still trying to attract. So I’m thinking the legacy will be a good experience on a bus or a train that could translate after the Olympics to people riding Metro.”
Los Angeles leaders warned of major traffic jams ahead of the 1984 Olympics. Then-Councilmember Pat Russell advised residents to leave the city and take a vacation, and many Angelenos rented out their homes to visitors. Fears loomed that if the city couldn’t nail down a transit plan, the experience would be a disaster and spectators would encounter a fate similar to the 1980 Winter Olympics in Lake Placid, N.Y., where thousands of people were stranded in below-freezing temperatures after the shuttle bus system became overloaded, according to Times archival reports.
“Of all the problems we’re faced with these Olympics Games, transportation is the surest and most inevitable mess unless we get the cooperation and support of people to adjust their use of their personal vehicles,” Capt. Ken Rude, the head of California Highway Patrol’s Olympic planning unit, told The Times a year before the 1984 Games. Months earlier, he warned that traffic jams could be so bad that people would be forced to abandon their cars on freeways.
Traffic on the 110 Freeway in downtown Los Angeles during the 1984 Summer Olympics.
(Michael Montfort / Michael Ochs Archives via Getty Images)
In the end, catastrophe was avoided. The plan 40 years ago was similar to today’s — build a robust bus system to shuttle Olympics fans, athletes and leaders throughout the county.
Traffic was manageable, whether due to transit plans that relied on an additional 550 buses to assist a fleet of 2,200, temporarily turned some streets one-way and limited deliveries to certain hours, or an exodus of residents as people left the area ahead of the Games, in part due to the dire predictions of complete gridlock.
But fast-forward, Los Angeles’ population has grown from nearly 8 million in 1984 to 9.7 million today, and the region is expecting millions more spectators than it did during the last Games. Estimates for the overall number of expected visitors are still vague, but planners have anticipated as many as 9 million more ticket holders than in the 1984 Olympics.
“There’s a mountain to be moved and if you move it one year, it’s a lot harder than in three years,” said Juane Matute, deputy director of UCLA Institute of Transportation Studies. “The buses are hard enough to get, but all of these policy and regulatory changes may be hard as well.”
Metro has received leasing commitments for roughly 650 buses so far. Vehicles aside, it will take time to get bus operators properly trained, tested and certified to operate public transit in the state, Matute said. An estimated 6,000 additional bus operators would be needed to drive people throughout the Games. Metro has said that those operators are expected to be provided through transit agencies loaning the buses.
In the latest state budget proposal, $17.6 million from the state’s highway fund would go toward Olympics and Paralympics planning, including Metro’s Games Route Network, which would designate a series of roads for travel by athletes, media members, officials, the International Olympics Committee, spectators and workers. But city and Metro leaders have continued to raise concerns over the funding gap, especially since the additional buses and priority lanes network in 2028 won’t be a permanent fixture to Los Angeles, and as the agency grapples with budget challenges as it faces a $2.3-billion deficit by 2030.
A cycle rickshaw driver, of Deke’s Muscled Cabs, transports a passenger, possibly an athlete, during the 1984 Summer Olympics in Los Angeles.
(Michael Montfort / Michael Ochs Archives via Getty Images)
Olympics planners, on the other hand, are confident that transportation will be successful.
“L.A. has invested unto itself a lot in infrastructure here and transportation infrastructure — far more than it did in ‘84,” LA28 Chair Casey Wasserman said after a three-day visit from the International Olympic Committee.
“We feel very confident that it’ll be a different version of the success we had in ‘84 in terms of ingress and egress and access and experience when it comes to transportation.”
Times staff writer Thuc Nhi Nguyen contributed to this report.
