Lifestyle
Big cats, little cats, weird cats collide at this purrfect L.A. experience
Since 2014, a recurring art show dedicated to cats has captured common feline actions (commandeering a pet parent’s lap, unflinchingly staring down an onlooker, shredding upholstered furniture and sweetly nuzzling) and just as many fantastical ones.
The Cat Art Show returns this week to celebrate a milestone. Starting Friday, the “Cat Art Show: The Tenth Anniversary” event will bring works from about 50 artists to Wallis Annenberg PetSpace in Playa Vista. From oil paintings to sculptures and tile mosaics, cats in all of their glory will have the run of the walls for three days. Also, for the first time, there will be a live pet adoption running concurrently with the show — paws and whiskers upstairs, cat-inspired art downstairs.
For the record:
4:42 p.m. Jan. 16, 2024A previous version of this story described L.A. artist Rabi’s multimedia artwork as photographic.
During the last decade, this group exhibition has become a must-see for gallery hoppers who have flocked to view the works of such boldface art-world names as Mark Ryden, Tracey Emin and Jill Greenberg. Likewise, cat lovers have often lined up at the art event, donning all manner of cat-covered paraphernalia to show their devotion to the animals of the hour. The Cat Art Show delivers just the right amount of camp but holds enough cool-kid appeal (think graphic artists Yusuke Hanai and Eric Haze) to attract those who don’t consider themselves furball fans.
“It’s grown to be a bit of everything — a lot more big collectors but a lot more of the general population too,” said Susan Michals, the Cat Art Show’s founder and head curator.
‘Miss Pitch and Furl,’ by Annie Montgomerie, and ‘Une Chat,’ by Léo Forest. (Annie Montgomerie; Léo Forest)
Creating an event that celebrates Michals’ two great loves was a no-brainer. She’s had cat companions her whole life, and she grew up with gallerist parents and has covered visual art extensively as a freelance journalist.
“I wanted to do a show that focused on emerging and established artists,” Michals said, “so I needed some great names to give validity … that this was a serious art show.”
To start, she approached artists she’d interviewed professionally or knew personally. The prompt she gave them was: “Cats as muse.” Shepard Fairey was among the first artists tapped for the inaugural show along with Gary Baseman and Tim Biskup.
Multimedia artist Britt Ehringer was another Angeleno who Michals approached back in 2014 and he eagerly agreed, enticed by the opportunity to raise funds for different animal charities. (Proceeds from the art sales benefit animal charities; this year’s is Wallis Annenberg PetSpace’s Extraordinary Care Fund.) Each year since, he’s submitted pieces that pair pop culture figures such as Scarface, Frida Kahlo and Tupac Shakur with clusters of cats.
“My other work’s not so pop art-y, so this is my space to play,” Ehringer said, speaking of his cat-related contributions.
‘Kobe Entering the Kingdom of Kittens,’ by Britt Ehringer.
(Britt Ehringer)
This year’s entry, “Kobe Entering the Kingdom of Kittens,” depicts Kobe Bryant soaring through the heavens as a coterie of cuties gaze at him (though, of course, a few appear aloof). The Lakers legend is joined by one of the artist’s two cats, Tofu, seen floating in the piece’s upper right-hand corner.
“There’s lots of different subcultures in the art world. I like how [the show] mashes up all those subcultures,” Ehringer said, noting that, over the years, the Cat Art Show has enabled him to establish friendships with artists he wouldn’t have otherwise met.
“Almost all of the art that I got in the first year was domestic. It’s definitely become more global in scope,” said Michals.
The 2024 collection of art is expected to include a comically disfigured painting by Vienna-based artist Eva Beresin, motion-filled sketches by Parisian Léo Forest, work by Korean Australian graphic artist YeahYeahChloe, and from the U.K., Annie Montgomerie’s handcrafted vintage toy-style kitties dressed in darling play clothes made from upcycled fabrics.
“News of the Cat Art Show has traveled around the world and was known to me here in Scotland,” said collage artist Lola Dupre, who’s based outside of Glasgow and is participating for the second time. “These shows include some of the greatest artists making work today, so it is an honor and privilege to include my work.”
‘Squits,’ by Lola Dupre.
(Lola Dupre)
Feline portraiture is a common part of her distortion-heavy cut-paper practice, and she frequently takes inspiration from her own companion, Charlie. This year’s entry, “Squits,” was inspired by a specimen she encountered while visiting a cat colony in Granada, Spain.
“Since I was young, I have known many cats, each one an individual,” Dupre said. “Their independence, energy and wildness I find fascinating.”
What makes the Cat Art Show compelling is that each artist views the muse in their own personal way, from impish to serene. Whatever way an attendee feels about cats, they’re likely to see that emotion reflected in various forms including glass sculpture, wooden figurine or porcelain candy dish.
“They are evil but they’re also awesome. And people have held that contradiction about cats since the dawn of time,” said L.A. street artist Rabi whose “Good Luck” artwork will be featured in the Cat Art Show. “People have thought cats were their gods and then demons and devils.”
L.A. street artist Rabi’s artwork, ‘Good Luck,’ was inspired by the duality and contradictions surrounding cats. ‘People have thought cats were their gods and then demons and devils,’ Rabi says. In one photo, his black cat, Sea Beast, looks at a mirrored section of Rabi’s artwork. (Rabi)
Drawn to exploring the concepts of duality and contradiction, he feels that cats are the perfect case study. His artwork for the show — two multimedia triptychs — combines images of broken mirrors, black cats and the number 13. “I loved the idea of challenging these bad luck archetypes and then calling it good luck,” he said.
Rabi tipped his hat to Michals for capturing and amplifying the dopamine rush a person gets from watching, and re-watching, the perfect cat video on social media.
“I think Susan does a really good job of bringing that culture to a tangible environment where we can all see things in real time, in real life, together,” he said.
In addition to showing all the ways in which cats are “an art form in themselves,” Michals aims for the Cat Art Show to dash stereotypes about what it means to fancy cats.
“What I saw with the first show was that the people that came did not fit the model of the hoarder, spinster, crazy cat lady,” she said. “I saw that audience and I was like, ‘These people are severely underrepresented and underserved as consumers and art appreciators.’
“Really, part of what these shows are about is to showcase my audience and say: ‘Look at these people. They love their animals and they love art,’” she said. “They do not represent the negative connotations associated at all.”
Lifestyle
Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants
Affordable, familiar and reassuring are the features that make American chain restaurants a near-ubiquitous presence throughout the country; it is almost as if they are baked into our roadside culture.
Despite well-documented financial struggles, a tough economy and shifting diet trends, these restaurants withstand time.
This series explores why these places have such strong staying power and how they stay afloat at a time of rapid change.
Read our first three pieces in this series, including how these restaurants leverage nostalgia to attract diners, how they attempt to keep costs affordable, and how social media has changed the advertising game – and become a vital key to restaurants’ success.
America’s chain restaurants are not the most glamorous places to eat. And yet, as we’ve reported, they hold a special place in many Americans’ hearts.
We asked readers what comes to mind when they think of restaurants like Olive Garden, Applebee’s or Texas Roadhouse — and you shared plenty of stories.
Not all of the respondees waxed poetic about the merit of these restaurants. David Horton, 62, from New York, for example, said: “The food is mostly frozen and only has flavor from the incredible amounts of sodium they use.”
But overwhelmingly, responses described vivid childhood memories shared in booths looking excitedly over laminated menus and the type of adolescent rites of passage that seem right at home in the parking lot of a suburban chain restaurant.
There’s a science behind why these sorts of memories have such a hold on us.

The feeling of nostalgia is linked closely to food and smell, and these restaurant chains are often where core memories – like graduation celebrations or first dates – are made.
Chelsea Reid is an associate professor at the College of Charleston who studies nostalgia. And she’s no more immune to nostalgic feelings than anyone else even though she has a better understanding of the chemistry behind the feeling.
“Even just saying Red Lobster, I can kind of picture the table and the things that we would do and the things we’d order, and my mom getting extra biscuits to take home,” she said.
A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.
James A. Finley/AP
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James A. Finley/AP
Her nearest Red Lobster closed down, but a local farmers’ market sells a scone reminiscent of Red Lobster’s famed Cheddar Bay Biscuits – a scent she says immediately transports her back to those childhood family outings to the seafood chain.
“I can see my mom wrapping these up in a napkin and putting them in her purse for when we would be like, ‘hey, we’re hungry,’ and she pulls out a purse biscuit.”
Full disclosure: Your intrepid reporters are not without sentimentality. Before launching this project, when it was just a kernel of an idea, we talked frequently about the role these restaurants played in our own lives.
Jaclyn: I distinctly remember cramming into a booth at my local Chili’s in my hometown, Cromwell, Ct., for most birthday dinners until the age of 13 or so.
I’d be surrounded by my mom, dad and brother, and I got to pick whatever I wanted. Except I always chose the same thing: Chicken crispers with a side of fries, topping the night off with the molten lava chocolate cake we’d share as a family.
I can picture it so clearly, down to the booth we’d sit in. Now, my family is spread out. But my love for Chili’s runs deep, and I still get warm and fuzzy when I think about it.
These days, I’m in my 30s, and I need to worry about my health and getting in 10,000 steps a day. So, no, I don’t regularly go to Chili’s now.
But when I do? Those chicken crispers I had as a kid are still on the menu, and yes, I’m likely to order them today (even if on my adult tastebuds, the salt content quickly turns my mouth into the Sahara Desert).
And it’s not to celebrate my birthday. It’s because one of my best friends is telling me she’s getting a divorce over cheap, and sugary, margaritas.
Alana: When the pandemic struck in 2020 and much of the country went into lockdown, there I was mostly alone in my one bedroom apartment, staring at the walls.
After what seemed like a lifetime, I was finally able to expand my tiny COVID bubble.
One of my first “dining out” experiences during that time was in the parking lot of the Hyattsville, Md., Olive Garden where my friend and I sat in absolute glee to be reunited – not just with one another, but also the chain’s staple soup (zuppa toscana for me, please), salad and breadsticks (you can have all the breadsticks if I can have your share of the salad tomatoes).
Since then, that friend and many others have moved away – too far to meet up for a sit-down over a (mostly) hot meal at a reasonably priced restaurant in a city not famed for being cheap.
I recently revisited the Hyattsville Olive Garden for this story. And even though my life is now different, my friends have moved away, and the world has shifted, there it was, exactly the same.
And I liked it.
Many readers said that these restaurants were the type of place a family who could rarely afford to eat outside a home could treat themselves on rare occasions.
Like Julie Philip, 51, from Dunlap, Ill., who wrote: “Growing up in the 70’s and 80’s, Red Lobster was an Easter tradition. We would dress up, go to church, then drive close to an hour to Red Lobster.”

She continued, “It was one of only a few days a year that we could afford to eat at a ‘fancy restaurant.’ I remember my parents remarking that they had to spend $35 for our family of four. I no longer consider Red Lobster a ‘fancy restaurant,’ but as an adult, my family and I often still eat there at Easter. I remind my kids that we are keeping up a family tradition and I tell them stories of my childhood while eating.”
The original Applebee’s restaurant was called T.J. Applebee’s Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.
Applebee’s
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Applebee’s
For Sarah Duggan, an Applebee’s parking lot evokes a key memory from young adulthood.
Duggan, 32, from North Tonawanda, N.Y., wrote that every time she sees an Applebee’s, she remembers the time her friend, in an act of teenage rebellion, got her belly button pierced in the parking lot of a Long Island Applebee’s — inside the trunk of the piercer’s “salvage-title PT Cruiser.”
Duggan held the flashlight.
She wrote, “I can’t picture those sorts of college kid shenanigans happening in the parking lot of a regular Long Island diner or other independent restaurant, but it seems right that it was at Applebee’s.”
She continued, “It makes me think about how nobody, from riotous camp counselors to your spouse’s grandparents, looks or feels out of place at a chain restaurant.”

Lifestyle
New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding
NASCAR’s Gregg Biffle
Jet Turns Into Ball Of Flames …
Shocking Video Shows
Published
Brevin Renwick
Horrifying new video shows the precise moment a plane carrying NASCAR driver Greg Biffle and his family crashed and exploded in flames Thursday, killing everyone on board.
Security footage captured the corporate jet turning into a ball of fire as it crash-landed near a runway at Statesville Regional Airport in North Carolina. The aircraft was scheduled to fly to Florida, but not long after takeoff, it turned back to the airport before crashing.
As you can see from the clip, the plane was reduced to what looks like a burning oil slick with black smoke rising into the sky. All seven people on the plane died, including Biffle, his wife, Cristina and two children — Emma, 14, and Ryder, 5.
PEOPLE reported minutes before impact, Cristina sent her mom a chilling text, stating, “We’re in trouble.”
The Federal Aviation Administration is investigating the cause of the crash.
Lifestyle
President Trump to add his own name to the Kennedy Center
President Donald Trump stands in the presidential box as he visits the John F. Kennedy Center for the Performing Arts in Washington, D.C, on March 17, 2025.
Jim Watson/AFP via Getty Images
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Jim Watson/AFP via Getty Images
The John F. Kennedy Center for the Performing Arts will now have a new name — the “Trump-Kennedy Center.” White House press secretary Karoline Leavitt announced the news on social media Thursday, saying that the board of the center voted unanimously for the change, “Because of the unbelievable work President Trump has done over the last year in saving the building.”
Shortly after the announcement, Ohio Democrat Rep. Joyce Beatty, an ex-officio member of the board, refuted the claim that it was a unanimous vote. “Each time I tried to speak, I was muted,” she said in a video posted to social media. “Participants were not allowed to voice their concern.”
When asked about the call, Roma Daravi, vice president of public relations at the Kennedy Center, sent a statement reiterating the vote was unanimous: “The new Trump Kennedy Center reflects the unequivocal bipartisan support for America’s cultural center for generations to come.”
Other Democrats in Congress who are ex-officio members of the Kennedy Center Board, including Sen. Chuck Schumer and Rep. Hakeem Jeffries issued a statement stating that the president is renaming the institution “without legal authority.”
“Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action,” the statement reads.


Earlier this year, Trump installed himself as the chairman of the center, firing former president Deborah Rutter and ousting the previous board chair David Rubenstein, along with board members appointed by President Biden. He then appointed a new board, including second lady Usha Vance, White House Chief of Staff Susie Wiles, Fox News host Laura Ingraham and more.

Trump hinted at the name change earlier this month, when he took questions before becoming the first president to host the Kennedy Center Honors. He deferred to the board when asked directly about changing the name but said “we are saving the Kennedy Center.”

The president was mostly hands off with the Kennedy Center during his first term, as most presidents have been. But he’s taking a special interest in it in his second term, touring the center and promising to weed out programming he doesn’t approve of. His “One Big Beautiful Bill” included $257 million for the building’s repairs and maintenance.
Originally, it was called The National Cultural Center. In 1964, two months after President Kennedy was assassinated, President Lyndon Johnson signed legislation authorizing funds to build what would become the John F. Kennedy Center for the Performing Arts.
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