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    Lake Elsinore Serial Killer Confesses to 1986 Murder of 19-Year-Old Woman

    William Lester Suff, 70, was already on death row for a dozen murders in Southern California. Now, he has confessed to killing a 19-year-old woman, shutting a 1986 cold case, officials said.A convicted serial killer on California death row for murdering a dozen people in the 1980s and ’90s confessed to the 1986 murder of a 19-year-old woman in Los Angeles County, the police announced on Tuesday.William Lester Suff, 70, confessed in May 2022 to stabbing Cathy Small to death and dumping her body on a South Pasadena, Calif., cul-de-sac, where her body was discovered by police on Feb. 22, 1986, the Los Angeles County Sheriff’s Department announced at a news conference on Tuesday. Why the announcement came more than two years after the confession was not clear.Ms. Small’s body was found in the morning wearing a nightgown, and she died from multiple stab wounds and strangulation, Lt. Patricia Thomas said.Ms. Small’s body was identified three days later by a man who had read about the killing in the news and had called detectives to say he was concerned that the victim could be his roommate.He told detectives that she had worked as a prostitute in the Lake Elsinore area and had lived at his house for a few months, Lieutenant Thomas said.The man said that Ms. Small left their house on the night of Feb. 21, 1986 wearing a nightgown. Ms. Small, he added, told him that a man named Bill was paying her $50 to join him on a drive to Los Angeles.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Benji Gregory, Child Star on ‘ALF,’ Dies at 46

    Mr. Gregory was found dead on June 13 in his car, along with his service dog.Benji Gregory, who starred as a child in the hit television series “ALF” in the 1980s, has died. He was 46.His death was confirmed by his sister, Rebecca Pfaffinger, who said that an official cause of death was still pending.According to Mrs. Pfaffinger, Mr. Gregory and his service dog, Hans, were found dead in his car on June 13 at a bank’s parking lot in Peoria, Ariz. She said in a Facebook post that he had fallen asleep in the vehicle and had died of heatstroke.Mr. Gregory was best known for his role as Brian Tanner on “ALF,” an NBC sitcom that premiered in September 1986, when he was 8. The show featured a suburban family whose world is thrown upside down when a back-talking, pointy-eared alien from the planet Melmac crash-lands through their garage. The Tanner family calls the alien ALF, short for Alien Life Form, and he stays with them, causing mischief and voicing his observations about humankind. “ALF” was a hit and aired for four seasons.“It became quite natural to interact with ALF,” Mr. Gregory said of the experience in a 2022 interview with BTM Legends Corner, a show on YouTube.“ALF,” short for Alien Life Form, aired on NBC from 1986 to 1990. AlamyHe was born Benjamin Gregory Hertzberg on May 26, 1978, in the Los Angeles area, according to his IMDB profile.Alongside “ALF,” Mr. Gregory appeared in a string of other hit shows in the 1980s, including “The A-Team,” “Punky Brewster” and “Amazing Stories.”Mr. Gregory’s film credits include “Jumpin’ Jack Flash,” a 1986 comedy about a lonely computer programmer in Manhattan played by Whoopi Goldberg, and the 1993 animated movie “Once Upon a Forest.”He eventually moved on from acting and in 2004 became an aerographer’s mate for the U.S. Navy stationed in Biloxi, Miss., according to IMDB.He had lived with bipolar disorder and depression and received care for both, his sister said. More

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    A Heartland Godmother of Installation Art, No Longer in the Shadows

    She is a trailblazer of the architectural sculpture movement, and her diaries rival Frida Kahlo’s. Are we ready for the unsettling clarity of Donna Dennis?One of Donna Dennis’s architectural installations — a false tunnel entrance installed on the Mad River — so confounded local Ohioans that one morning in August 1981, someone pipe-bombed it. New York’s bomb squad confiscated part of another structure, a cabin occupying City Hall Park, in 1986. The works by Dennis are so faithful to existing vocabularies of infrastructure that they defy classification as art objects.In 1970s New York, as painting and sculpture gave way to a gold rush of conceptualism, environments, performance and politics, the Ohio-born Dennis, fresh from art school in Minnesota and Paris, tuned into consciousness-raising women’s groups and devoted her craft to unsettlingly frank resemblances of buildings.First came hotel and subway facades, then houses in the round — each a combination of construction and artist materials, and slightly too small to pretend functionality. (For lights she uses appliance bulbs, and her doors terminate at her eye level.) Since the ’80s she has gone industrial: room-size lift bridges, stairways, rail platforms, pump houses and roller coaster girdings that have increased in complexity as they lessen in number.Dennis in 1981 with half of “Mad River Tunnel: Entrance and Exit,” in Dayton, Ohio.Donna DennisThis month, the gates crack on this scarce and challenging oeuvre. The bellwether art gallery O’Flaherty’s has darkened its space on Avenue A to a dramatic degree, and filled it with five Dennis works from the 1970s and ’90s, for a show called “Houses and Hotels.” Whatever else they do, these shrines to vernacular architecture, humane, seductive and commanding, make clear that a godmother of installation art has been unwisely overlooked.“Two Stories with Porch (for Robert Cobuzio)” (1977-79) is a 10-foot-tall rowhouse in the style of suburban New Jersey. From a darkened first-story window, a VACANCY sign glows greenly. (A tribute to the late friend of the title.) A wallpapered room lit by ceiling bulb is just visible upstairs. As your eyes adjust in the dark, unlit details fade in: a coat of aluminum paint on the cornice, a staircase through the curtain, a tracing of mortar among stones in the foundation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Dianne Brill, a 1980s ‘It Girl,’ Makes a Splashy Return

    “I’m back,” she says at her 66th birthday party. “Maybe not everyone knows it yet, but I am.”When Dianne Brill arrived at the Soho Grand Hotel for her 66th birthday party on Saturday night, she did so with the same sense of spectacle that made her an icon of Manhattan nightlife in the 1980s.People stopped and stared as she stepped out of a black S.U.V. Standing 6-foot-3 in white platform boots, Ms. Brill was wearing a silver satin wraparound dress and holding a glittering wand in one hand. Her hair was big and blonde, and she wore a big necklace that read “B-R-I-L-L.”“I’m back,” she said. “Maybe not everyone knows it yet, but I am, and that’s why I’m having this birthday party. To show everyone I’m back.”The party was billed as “One in a Brillion.” The dress code on the invitation was “Strictly Brill,” meaning the kind of thing Ms. Brill might have worn at nightclubs like Area and Danceteria four decades ago.She came to New York at age 22 from the suburbs of Tampa, Fla. Soon she seized the mantle once occupied by Edie Sedgwick and Bianca Jagger as downtown’s reigning “It” Girl. She also became a muse to Andy Warhol, who once stated, “If you were at a party and Dianne Brill was there, you knew you were at the right party.”Ms. Brill poses for Andy Warhol in 1984.Roxanne LowitWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    When Richard Serra’s Steel Curves Became a Memorial

    The sculptor had a breakthrough in the late 1990s with his torqued metal rings. Then the attack on the World Trade Center, which Serra witnessed, gave them a sudden new significance.After the yelling, the hearings, the lawsuit, the dismantlement, Richard Serra entered the last decade of the last century with his mind cast toward the classics.He was happy to see the end of the ’80s. The American sculptor, who died Tuesday at 85, got caught up in the Reagan-era culture wars with “Tilted Arc,” a 120-foot plate of curved Cor-Ten steel that sliced across Manhattan’s Federal Plaza. It drew outrage almost as soon as it was installed in 1981. His fellow New Yorkers shouted at him on the street. People called his loft on Duane Street with death threats. (This newspaper, too, was not always kind.) The work was finally removed — in Serra’s estimation, destroyed — in March 1989. You could see the appeal of a trip to Italy.In Rome, he visited San Carlo alle Quattro Fontane: a chapel designed by Francesco Borromini that’s one of the prizes of Baroque architecture, topped by an oval dome. “The central space is simply a regular ellipse, and the walls that surround it are vertical,” he would later recall. “I walked in and thought: what if I turn this form on itself?”Serra’s “Tilted Arc” (1981), in Federal Plaza in Lower Manhattan. After a yearslong battle it was dismantled in 1989.Richard Serra/Artists Rights Society (ARS), New York; Photo by Chester Higgins Jr./The New York TimesBack in New York, after consulting with engineers and trying out new computer-aided design software, he created a sculptural form that had not existed before: free-standing plates of weatherproof steel whose top and bottom edges form two identical, misaligned ellipses. The rolled steel weighed some 20 tons, but had a finesse that belied their mass. They had the can-you-top-this confidence of an artist who saw Borromini as his peer, but they were more inviting than Serra’s previous steel works, beckoning you to explore their warmly patinated expanses.The torqued ellipses, quite literally, shifted the axis of Serra’s career: from solid to space, from process to perception, from the artist’s actions to the viewer’s bodily experience. Their enclosing volumes provided this once controversial, always gruff artist an unexpectedly congenial third act; the ellipses at the Dia Art Foundation in Beacon, N.Y., have become a reliable venue for second dates, an ideal backdrop for cultured flirtation. Whereas for me the ellipses have remained these past decades something more like empty tombs, wedded in my mind to another site of deformed steel, and to the life of an artist who experienced Sept. 11, 2001, with horrible immediacy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Running San Francisco Made Dianne Feinstein

    When I was interviewing Senator Dianne Feinstein in 2011 for a book about San Francisco’s tumultuous history from the 1960s to the ’80s, she suddenly began to tear off her microphone and terminate the exchange. My offense? I asked about her decision as mayor of the city to veto a 1982 ordinance that would have extended health insurance benefits to live-in partners of municipal employees, including lesbians and gay men. I managed to coax the irate Ms. Feinstein back into her chair, but she had clearly drawn a line: I’m ready to leave whenever I don’t like the direction this is headed.Ms. Feinstein could be imperious, thin-skinned and intolerant. She was also the leader that San Francisco sorely needed on Nov. 27, 1978, when she was abruptly thrust, at the age of 45, into City Hall’s Room 200 after Mayor George Moscone and Supervisor Harvey Milk were assassinated by another colleague, Dan White.“This will not be a rudderless city,” she firmly told the shellshocked public after the murders, even though she was shaken by them. When she met with the hastily assembled press soon after the killings, her skirt was stained with Mr. Milk’s blood.During her nine plus years as the first female mayor of the famously cantankerous metropolis, Ms. Feinstein won the grudging respect of the old boys’ network that had always run City Hall. She managed to steer San Francisco between the liberal, freewheeling future that Mr. Moscone aimed toward — the era of San Francisco values — and its older, more conservative traditions, including its downtown business interests. As mayor, she opposed rent control on vacant housing and some demands from the gay community, like domestic partner legislation. But she also pushed through a tough gun control ordinance, environmental regulations and pro-labor laws and hosted a wedding ceremony of lesbian friends in her backyard.All the while, she kept a strong hand on the rudder, emphasizing law and order and putting more cops on the streets but also drawing the line against police mayhem after the White Night riot and violent police sweep of the gay Castro district after the stunningly lenient verdict for Mr. White.“This city has to be managed,” she said. “If you don’t manage, it falls apart.”The Chinatown activist Rose Pak witnessed Ms. Feinstein’s hands-on approach one day when she was riding with her in the mayoral limousine. Spotting an older man collapsed on the sidewalk, Ms. Feinstein ordered her chauffeur to stop, jumped out, wiped foam from the stricken man’s lips and began administering mouth-to-mouth resuscitation on him. People later commented that this incident proved she was not a cold fish.“But I didn’t see it that way,” Ms. Pak recalled. “I saw her as a doctor’s daughter and a doctor’s widow, doing the proper clinical thing.”Most important, Ms. Feinstein became a national face of AIDS compassion when President Ronald Reagan was ignoring the growing suffering and conservative activists like Patrick Buchanan were crowing that the disease was nature’s “awful retribution” on gay men. When the gay progressive supervisor Harry Britt, who often clashed with the mayor, brought Ms. Feinstein the city’s first AIDS proposal in 1982, she told him simply, “Fund everything.”Other cities dumped their AIDS patients on San Francisco, including a notorious incident in 1983 when hospital officials in Gainesville, Fla., put a dying man on a plane to the city, miles from his loved ones. San Francisco took care of the sick men, but Ms. Feinstein denounced the practice as “outrageous and inhumane.”“Dianne spent more time visiting AIDS patients in hospitals than I did,” Mr. Britt remembered. “She was a giver. She was a very compassionate person. I don’t want to say ‘queenly,’ because that sounds negative, but she was a good queen.”Led by Ms. Feinstein — and the city’s gay and lesbian activists and frontline medical workers — San Francisco wrapped the sick and dying men in its arms and finally became the city of its eponymous friar, St. Francis, who cared for the needy.San Francisco made Dianne Feinstein, but until the gunfire that exploded at City Hall, she had concluded that her political career as a city supervisor was over. After returning from a challenging trek through the Himalayas that month with her future husband, the investment banker Richard Blum, she recalled, “I was firmly convinced I was not electable as mayor.”Ms. Feinstein was widely perceived as too starchy, a goody-goody, the Margaret Dumont in a wacky city filled with Marx Brothers. She was raised to be a political animal; her paternal uncle Morris Goldman, a clothing manufacturer and Democratic Party wheeler-dealer, took her as a girl to “board of stupidvisors” meetings and pointed out how the flick of a city boss’s cigar could change the vote tally. But later, as a young civic reformer, when she visited a hippie commune in the Haight-Ashbury district that had been trashed by a police raid or seedy porn theaters or the down-and-out Tenderloin neighborhood (where she posed as a prostitute in a wig), Ms. Feinstein came off as slightly ridiculous.Newly elected to the San Francisco Board of Supervisors, Ms. Feinstein addressed the hard-luck worshipers at Glide Memorial Church, lecturing them about the importance of good hygiene and hard work — and predictably got a tepid response from the congregation. “Dianne,” Glide’s minister, the Rev. Cecil Williams, told her later, “you don’t talk that way to these folks. If they had a place to get cleaned up, most of them would get cleaned up. If they could get a job, they’d get a job.”But Ms. Feinstein — a daughter of privilege, educated at the exclusive Convent of the Sacred Heart High School and Stanford University — did her political homework. She was ready to lead when history came calling.One day in 1979, when Ms. Feinstein, then the interim mayor, was campaigning for election, she went door to door in the city’s rough and redeveloped Fillmore district. Suddenly she was approached by a man who pointed a silver pistol at her head and pulled the trigger. She froze in fear; the City Hall assassinations happened the year before. Out of the man’s gun shot a butane flame instead of a bullet. She quickly gathered herself and went on campaigning. She won the election, even though The San Francisco Chronicle and key political establishment figures supported her more conservative opponent.“She ran the city with an iron fist,” Mike Hennessey, a progressive who served as San Francisco’s sheriff for 32 years, told me. “Of all the mayors I’ve worked with, she was the best. That’s because she took responsibility for this city. San Francisco is a very hard city to run. It’s very politically fractious. It takes a lot of work to hold it together. And that’s what Feinstein did.”In her three decades in the U.S. Senate, to which she was elected in 1992 (four years after her last term as mayor), Ms. Feinstein turned in a more mixed record. Over the years, she gained wide respect, even across the political aisle, for her hard work and political wisdom. But her success at banning assault weapons was undone, and her legislative record is uneven at best.In 2017, as a San Francisco Chronicle columnist, I warned Ms. Feinstein not to run again the next year for the Senate, writing that she would then be 85 and too old for the rigors of the job. But she didn’t listen — and neither did California’s voters.When I think of Dianne Feinstein, I think of her as San Francisco’s mayor. She may not have been the leader many San Franciscans (including me) wanted, but she was the one we needed.David Talbot is the author of, among other books, “Season of the Witch: Enchantment, Terror and Deliverance in the City of Love.” The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips. And here’s our email: letters@nytimes.com.Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram. More

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    How Dinkins and Giuliani Foretold the Future of American Politics

    I remember being at the hotel on election night in 1993 where Mayor David Dinkins and his supporters had gathered to celebrate what they hoped would be his re-election. I was a reporter for The Village Voice, and the polls had been close.But it was not to be. At a certain point in the evening, the local cable news network NY1 (just about a year old at the time) called the race for Rudy Giuliani. Shortly after, some members of the mayor’s entourage thundered past me.In the mayhem, I managed to make eye contact with Lee Jones, the mayor’s press secretary, whom I had known since he worked for Mayor Ed Koch (Mr. Dinkins kept him on). I could see he was distraught. “Well,” he said, “by and large, the coalition held. The coalition held.”That may sound like spin, but it wasn’t. We knew each other quite well. I took it that he was just trying to think of something hopeful to say — and in retrospect, he wasn’t wrong.As I’ve thought back on those years in the wake of Mr. Dinkins’s passing last week, I’m floored at the extent to which the politics of New York City foreshadowed the national politics of today. If the American polity consists of two warring camps right now, we might say that the New York of that time helped blaze that unhappy trail.The 1993 race was a rematch of their 1989 contest, when Mr. Dinkins beat Mr. Giuliani by less than 50,000 votes out of nearly two million cast. In the rematch, Mr. Giuliani won by about 53,000.Both men’s coalitions were remarkably sturdy. Even with a series of tumultuous situations — like the AIDS, heroin and crack cocaine epidemics, and dark economic times that forced Mr. Dinkins to enact severe budget cuts — two relatively marginal factors seemed to tip the election. First, Mr. Dinkins lost a few thousand mostly white voters over his too-tentative handling of a riot in the Brooklyn neighborhood Crown Heights and the boycott of two Korean-owned grocery stores by Black residents. Second, Mr. Giuliani benefited from a Staten Island secession referendum that Republicans had led the way to getting on the ballot. It goosed turnout in that borough, which benefited Mr. Giuliani (Republicans knew how to put a finger on the electoral scale even then).Mr. Dinkins’s coalition was liberal, multiracial and multiethnic. It arose and came together over the course of the 1970s and 1980s. For decades before him, New York City politics had been dominated by “the three I’s”: Italy, Ireland and Israel. For three citywide offices — mayor, comptroller and City Council president — it was often the case that one would go to an Italian, one to an Irishman (or by the 1970s, Irishwoman) and one to a Jew.In that arrangement, Black people and Latinos were junior partners, and they could not win the mayoralty because they could never coalesce around a single candidate. Meanwhile, the 1980s were happening: raging inequality and the AIDS crisis; a wave of crime and homelessness; the decade of the rise of the hedge-fund titans and Manhattan real estate celebrities (including you-know-who). In addition, Mr. Koch played increasingly to white racial backlash as the years went on. The Dinkins coalition — Black people, Latinos, gays, liberal Jews, immigrants, assorted others — was an emerging New York that was mostly not invited to the conspicuous prosperity of the ’80s enjoyed by Wall Street financiers and real estate developers. Mr. Dinkins’s most historically significant accomplishment was arguably not anything he did as mayor; it was to have assembled this coalition and, with his widely admired strategist Bill Lynch, proved to the world that it could win.The Giuliani coalition was the traditional and aging New York of wealthy Manhattan elites and white ethnic populations in other boroughs — the police and firefighters, the owners of the hardware and liquor stores in Howard Beach and Bensonhurst (the “red” parts of New York City), the pressmen at the Daily News plant, the sons and daughters of the men and women who had worked at the Brooklyn Navy Yard during the war.They were white. As such, they were privileged, even if it often didn’t feel that way to them. By and large they did not like the changes, like letting Black and Latino people into their unions and neighborhoods, that the emerging New York was seeking to impose on them. In Mr. Giuliani, they found their avenger.Fundamentally, those two coalitions in our largest city are now our two coalitions in the United States. And just as those two mayoral elections were close, hard-fought referendums on which New York would have power, our recent national elections have followed exactly the same pattern. Emerging America won in 2008 and 2012. Backlash prevailed narrowly in 2016. Then, a few thousand votes switched, and multiracial America won again.In some ways, I feel like I’ve been watching the same movie for 30 years. It even has some of the same stars, saying some of the same kinds of things. Of that 1989 election, Mr. Giuliani once told the journalist Jack Newfield: “They stole that election from me. They stole votes in the Black parts of Brooklyn, and in Washington Heights.”Mr. Dinkins, though a good and decent man, in the end didn’t have the political vision and will to transcend the divisions. Mr. Giuliani, like his friend President Trump, didn’t have them, either (in his case, more by choice).But these days I wonder who can transcend them. I know Joe Biden wants to, but I sure don’t get the feeling the other side wants to play along. Lee Jones was righter than he knew, not just about 1993 but also about what’s unfolded ever since: The two coalitions have not only held; they’ve metastasized. I may be watching this movie the rest of my life.The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips. And here’s our email: letters@nytimes.com.Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram. More