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Southwest Mobile Storage is a family-owned shipping container business founded in 1995. Our strength for more than 25 years comes from the specialized knowledge and passion of our people, along with serving over 24,000 commercial, construction and residential customers. Our 90,000 sq. ft. facility and expertise in maintaining, manufacturing, and delivering corrugated steel containers are unrivaled in the industry.

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When you choose mobile storage containers over traditional storage facilities, you get more space for less, plus the convenience of onsite, 24/7 access to your valuables. And if you can't keep a container at your location, we offer you the flexibility to store it at our place instead. Rest assured, our high-quality storage containers will keep your items safe from weather, pests and break-ins. When you need to rent, buy or modify mobile storage containers in Los Angeles, CA, look no further than Southwest Mobile Storage.

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Our ground-mounted mobile offices provide comfortable, temperature-controlled workspace without the extra expenses associated with portable office trailers, like stairs, metal skirting or setup and removal fees. Whether you only need one workspace, storage to go with it, or separate rooms in one container, we've got you covered. With our 500 years of combined container fabrication experience, rest easy knowing your mobile office is of the highest quality craftsmanship when you choose Southwest Mobile Storage.


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Latest News in Los Angeles, CA

Correa saves Twins' lead with absolute seed to nail Ohtani at home

MINNEAPOLIS -- Carlos Correa has still been getting his share of rowdy boos from the Dodgers fans that made their way north to Target Field this week -- so as a parting gift, he took the boos out of their mouths and left them speechless instead.The pivotal moment of Wednesday’s series finale came in the top of the seventh, star power on star power: Freddie Freeman ripping a double to send Shohei Ohtani barreling towards the plate wi...

MINNEAPOLIS -- Carlos Correa has still been getting his share of rowdy boos from the Dodgers fans that made their way north to Target Field this week -- so as a parting gift, he took the boos out of their mouths and left them speechless instead.

The pivotal moment of Wednesday’s series finale came in the top of the seventh, star power on star power: Freddie Freeman ripping a double to send Shohei Ohtani barreling towards the plate with the tying run, against Correa gearing up to heave a relay throw home.

Correa received, turned and threw a 92.2 mph strike from shallow right field. Ohtani slid, feet-first. Christian Vázquez swatted down the tag on Ohtani’s foot, just before it touched the plate. Ohtani was initially ruled safe -- but a replay review quickly overturned it, and that was that, holding the Twins’ narrow lead in their 3-2 victory over the Dodgers.

Amid the Twins’ early-season struggles, a healthy Correa with a fully functional heel has been their sparkplug on both offense and defense -- and he might very well have swung the outcome of the game for his scuffling team.

“Last year, it’s not that he didn’t look like himself; he wasn’t himself,” manager Rocco Baldelli said. “He physically wasn't himself. He was playing without being able to really use one of his legs or drive off one of his feet. He couldn’t do it. There was a lot he couldn’t do last year.”

The Twins wouldn’t have had that lead without a resurgent performance from Edouard Julien, who surged out of his early slump with two homers and three runs scored in his first career multihomer game. The decisive blast off reliever Alex Vesia in the fifth marked Julien's first career homer off a left-handed pitcher.

With the Twins nursing that one-run lead against the superstar-studded top of the Dodgers’ lineup, Ohtani stood on first with two outs as Freeman roped a line drive into the right-field corner. Alex Kirilloff retrieved the ball and hurled it to a waiting Correa, whose throw home matched the second-hardest relay throw by a Twins infielder in the Statcast era (since 2015) -- behind only a 93.5 mph throw from Correa himself on Sept. 20, 2022.

A Makeover for a Beloved Tourist Destination

Ask most anyone around the world to imagine Hollywood, or even Los Angeles, and they’ll probably think first of the Hollywood sign. Next might come sights along Hollywood Boulevard: the iconic stars of the Walk of Fame; the TCL Chinese Theater (formerly Grauman’s) at night, lit by spotlights painting the dark sky above; classic movie stars slinking into the Musso & Frank Grill for an ice-cold martini....

Ask most anyone around the world to imagine Hollywood, or even Los Angeles, and they’ll probably think first of the Hollywood sign. Next might come sights along Hollywood Boulevard: the iconic stars of the Walk of Fame; the TCL Chinese Theater (formerly Grauman’s) at night, lit by spotlights painting the dark sky above; classic movie stars slinking into the Musso & Frank Grill for an ice-cold martini.

That’s why tourists often make Hollywood Boulevard one of their first stops in Los Angeles. With about 38 million visitors a year, the area known as the Hollywood Entertainment District is one of the region’s most visited destinations, outpacing even Disneyland, visited by about 16.8 million people in 2022.

When they arrive, though, the reality may not match the fantasy.

As Angelenos will loudly attest whenever they head toward Hollywood Boulevard for a concert or a centrally located happy hour, traffic there is often at a standstill, and people in the midst of mental health or substance-use episodes wander down the crowded sidewalks. Restaurants catering to tourists blast music, and costumed sales workers hawk discount souvenirs or bus tours, resulting in a cacophony. And about 30 percent of the street-level commercial space on the boulevard in the entertainment district is vacant — a 40-year problem, according to Kathleen Rawson, the president and chief executive of the Hollywood Partnership, the nonprofit that manages the area’s business improvement district.

“Hollywood has had a stigma for quite some time,” Rawson said.

But city officials hope that a plan aimed at making Hollywood Boulevard more friendly to pedestrians and cyclists could help turn that around — ideally before Los Angeles hosts the 2026 World Cup and the 2028 Olympics.

The plan — named “Access to Hollywood,” because, one assumes, the allusion was right there — would use $8 million in public money to expand sidewalks and add bus lanes, protected bike lanes and designated turning lanes to a 3.6 mile stretch of Hollywood Boulevard extending from West Hollywood to Los Feliz. Pedestrian safety is a key goal: Right now, the thoroughfare is among the 6 percent of city streets in Los Angeles that account for 70 percent of the city’s deaths and severe injuries to walkers. Outdoor dining spaces along the boulevard will also be expanded.

“We know when people come here and they stay here and they shop here, they’re going to spend their money here,” said Councilman Hugo Soto-Martinez, who is spearheading the project and whose district encompasses most of the area. “They are going to make businesses more vibrant and make this truly the street that it should be: a world-class destination.”

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Hollywood boosters, including Rawson and Soto-Martinez, hope that the transportation improvements will be the beginning of a broader revitalization of Hollywood Boulevard that could involve shutting the street to traffic more regularly, creating a pedestrian-friendly public space.

Rawson said other small improvements could make a big difference in encouraging visitors to spend time in the area. For example, she said, she hopes to raise money to pay for power-washing the Walk of Fame daily, rather than just twice a week. The boulevard has relatively few street trees; last year, the group planted 75. In the future, she said, she could envision more events on the street geared to both tourists and residents, like an outdoor World Cup watch party.

“We are dealing with the raw material here in this neighborhood that is prime for a little love and care,” she said. “The streetscape improvement plan is an amazing start to that.”

Steve Nissen, the chief executive of the Hollywood Chamber of Commerce, which founded the Walk of Fame, said Hollywood Boulevard, like so many entertainment districts around the country, had cycled through highs and lows. While he acknowledged that recent years had been tough, he added, “We are now on a great upswing.”

He noted that Netflix, which already had an enormous office and studio footprint in Hollywood, recently spent $70 million to restore the century-old Egyptian Theater on the boulevard — the site of Hollywood’s first movie premiere event, in 1922.

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What We’re Eating

Pistachio Cheesecake, 2 Ways: Super Simple and Simply ShowstoppingFeb. 9, 2024

And before you go, some good news

The St. Francis Hotel on Hollywood Boulevard, built in 1926, was once the heart of Hollywood. The photographer Penny Wolin’s book “Guest Register” captures the spirit of the hotel through pictures of its residents.

Wolin took the photos nearly 50 years ago, when she was 21 and stayed at the hotel for three weeks, NPR reports. She wanted to learn more about the kinds of people who were living in a hotel that had once been famous for its movie-star glamour. She describes the St. Francis as “an existential place.”

Thanks for reading. We’ll be back tomorrow.

P.S. Here’s today’s Mini Crossword.

Soumya Karlamangla, Maia Coleman and Briana Scalia contributed to California Today. You can reach the team at

Warning: with Back to Black and four Beatles movies, Hollywood’s most cliched genre isn’t going away

From Amy Winehouse to Elvis, musical biopics are ubiquitous – but it’s only the fake ones that are really worth watchingWith each passing year, it becomes harder to deny that Walk Hard: The Dewey Cox Story, Jake Kasdan’s 2007 cult comedy about a fictitious rocker’s rise and drug-addled fall, might be the most prescient Hollywood film of the 21st century.Borrowing libe...

From Amy Winehouse to Elvis, musical biopics are ubiquitous – but it’s only the fake ones that are really worth watching

With each passing year, it becomes harder to deny that Walk Hard: The Dewey Cox Story, Jake Kasdan’s 2007 cult comedy about a fictitious rocker’s rise and drug-addled fall, might be the most prescient Hollywood film of the 21st century.

Borrowing liberally from the 2005 Johnny Cash biopic Walk the Line the film skewers rock biopic cliches as mercilessly as Airplane! lampooned disaster movie tropes. Its hero, Dewey (John C Reilly) blames himself for his brother’s death, ascends to fame, falls for a singer who isn’t his wife, rubs shoulders with the Beatles, descends into drugs, goes to rehab, gets clean, and – by the film’s end – makes a triumphant return to the stage.

Though it bombed on release, Walk Hard feels more potent each year, pre-emptively ridiculing the endlessly proliferating music biopics that walk straight-faced into the cliches it mocked. (“Haven’t these people seen Walk Hard?” critics reflexively ask.) Lately, the genre seems to be in full bloom: Back to Black, Sam Taylor-Johnson’s profile of Amy Winehouse, is hitting UK cinemas this week, with a cloud of controversy swirling around its portrayal of the late star’s troubled life. Now comes news that The Bear star Jeremy Allen White will fit his chiseled abs into Bruce Springsteen’s white tees for a film about the making of his album Nebraska.

Meanwhile, in February this year, Sam Mendes announced that he’s at work on a Beatles biopic. Except it’s not just one biopic; Mendes plans to direct four feature-length films – one from each Beatle’s point of view – all for release in 2027. Even the most devout Beatles obsessives have strained to consider this a good idea.

It’s time to admit: we’ve reached Peak Music Biopic. Let’s give it a rest. With the exception of Maestro (which, despite its flaws, surely reflects Bradley Cooper’s vision and artistry), these movies feel less like auteur-driven cinema than estate-sanctioned exercises in brand management, with their easy, IP-adjacent appeal juiced by access to renowned songbooks. Just as Heaven’s Gate now epitomises the hubris of the New Hollywood era, this quadrupedal Beatles project may come to symbolise the indulgent excess of today’s musical biopics.

Rock biopics weren’t always a sure bet for Hollywood. Thirty-plus years ago, Great Balls of Fire! and The Doors underperformed at the box office and yielded mixed reviews. But in the mid-2000s, Ray and Walk the Line proved that a good biopic could transcend its formula, attract a multigenerational audience and win Oscars. (Cynically speaking, both films were also aided by the then-recent deaths of their subjects, though both were sturdily made and well-acted despite their boilerplate arcs.)

That one-two punch ushered in the new age of rock biopics, and set the template for Walk Hard to skewer: young rocker rises from poverty, becomes a sensation, falls into drugs and temptation. “We tried to kill the musical biopic with this movie,” Reilly later reflected. “It turns out it’s a very resilient cliche.”

Resilient indeed. The genre only proliferated. Some specimens were more interesting than others: Todd Haynes eschewed the usual cliches with his 2007 biopic-as-collage I’m Not There, a deliberately obfuscating portrait of the deliberately obfuscating Bob Dylan.

Alas, the recent crop of biopics has been far worse. Bohemian Rhapsody squandered an impressive Rami Malek performance by egregiously rearranging the facts of Freddie Mercury’s life (no, he wasn’t diagnosed with HIV before Live Aid). Rocketman leaned on cornball fantasy sequences and whimsical flourishes to disguise what is, at core, a formulaic Elton John biopic. Its messy hybrid of jukebox musical and biopic also muddles up the chronology of John’s career.

And yet these movies remain profitable. This year’s Bob Marley: One Love is a fitfully interesting, overly reverent portrait of the reggae singer that struggles to articulate Marley’s political consciousness beyond a feelgood haze of pot smoke and peace platitudes, but it was a box-office success. Baz Luhrmann’s Elvis, an overwrought, razzle-dazzle fever dream, narrated by Tom Hanks sounding like a Southern-fried Werner Herzog, took in $288m in 2022.

Interestingly, that film’s sanitised narrative – obscuring the fact that Priscilla Presley was a minor when Elvis romanced her – created an opening for Sofia Coppola to make a far more complex film centred around Priscilla herself.

The glut of biopics feels emblematic of an era in which we refuse to let dead celebrities remain dead. Any deceased star is just waiting to be reanimated for posthumous profit. Consider the morbid spectacle of the hologram tour, which has turned 3D avatars of Frank Zappa, Whitney Houston and others into undead attractions. Artificial intelligence promises more grotesque resurrections. A meditation app recently released a bedtime story “narrated” by an AI-generated Jimmy Stewart voice, while George Carlin’s estate sued a podcast that claimed to have used AI to mimic the comedian’s voice and standup style.

The irony is that the best music movies of the past decade aren’t really biopics at all. They’re fictitious character studies, like the Coen brothers’ Inside Llewyn Davis, a mordant, richly detailed portrait of a 1960s folksinger struggling to make it, or Tár, Todd Field’s hypnotic examination of a world-renowned conductor’s unravelling. Like Walk Hard, these films crackle with verve and imagination, depict actual milieux, and make their titular heroes seem as real as Dylan or Leonard Bernstein.

But because they aren’t rooted in familiar stories and pre-existing back catalogues, such movies tend to make studios nervous. They’re riskier than a Marley biopic, or a Springsteen one, or a Winehouse one. They’re works of the imagination, a resource Hollywood should focus on cultivating. As John Lennon famously said, “With meditation, there’s no limit to what we can … imagine.”

Oh wait, that’s just a Walk Hard quote.

Zach Schonfeld is a freelance journalist and critic

Harbaugh wants to help QB Justin Herbert with strong run game

ReactionsLike51Fire2LOS ANGELES -- For the past four seasons, the success of the Los Angeles Chargers has largely depended solely on the right arm of quarterback Justin Herbert....






LOS ANGELES -- For the past four seasons, the success of the Los Angeles Chargers has largely depended solely on the right arm of quarterback Justin Herbert.

On many occasions, that strategy has been effective.

In week 3 of the 2023 season, for instance, he threw the ball 47 times for 405 yards and three touchdowns as the Chargers escaped with a four-point win over the Minnesota Vikings. Against the Chicago Bears in Week 8, he threw the ball 40 times for three touchdowns and 298 yards in a 30-13 win.

Then there are the games where the lean-on-Herbert tactic isn't as effective, even when he has the stats. Against the Detroit Lions in Week 10, he threw 40 times for 323 yards and four touchdowns, but the Chargers lost 38-31. Herbert's 39.1 passing attempts per game are the highest average in NFL history.

Ultimately, this style of offense -- one that has been reliant on passing, and ignored or tried and failed to have a running game -- has had the Chargers stuck in mediocrity.

Coach Jim Harbaugh and his staff plan to change this trend quickly, with an offense whose stars are its offensive line. They plan to lean on their running backs to keep defenses puzzled and make Herbert's life easier. It's the only kind of offense that Chargers offensive coordinator Greg Roman has operated. That offense won Baltimore Ravens quarterback Lamar Jackson a unanimous MVP award in the 2019 season and led Harbaugh and the San Francisco 49ers to three NFC Championships when he was the head coach from 2011 to 2014.

"Not everyone needs to function like Peyton Manning did to win football games," said run game coordinator and tight ends coach Andy Bischoff. (Manning's 9,380 attempts are the fourth highest in NFL history).

Instead, Bischoff, who coached with Roman in Baltimore, said the Chargers will strive for a "balanced offense that brings out the greatest strengths in everyone on the unit."

To achieve the balanced offense Bischoff envisions, the most important players are the offensive line.

"This offense -- and this building -- is an O-line-centric space," Bischoff said. "When it comes to our strength program, it's built around the O-line. Everybody else fall in line. Some people don't value offensive linemen. We do.

"This is a place where O-linemen are going to want to come and play ... We're going to raise these guys up and make them feel great about what they do and what they have to offer and not push them to the side and make them the afterthought. They are at the forefront of our thinking."

That mindset has drawn players with the same qualities Bischoff looks for in offensive linemen -- strong, physical, willing to hit -- to the Chargers. It's why running back Gus Edwards, and tight ends Hayden Hurst and Will Dissly signed with L.A. and mentioned "physical" an innumerable amount of times in their introductory news conferences.

"The guys that we have been bringing in as of late, that's what everybody has in common," Edwards said of the physical mindset of the Chargers latest signees.

Edwards scored a career-high 13 touchdowns with the Ravens last season, often by bulldozing defenders when the Ravens got into the red zone. He played under Roman for four seasons in Baltimore, and the chance to be a "downhill" runner playing behind a dominant offensive line again is what drew him to L.A.

"I love this scheme, the way that [Roman] schemes everything up," Edwards said, "and just the whole mindset -- the physicality -- I really like."

The way in which Chargers coaches have spoken about their offense since Harbaugh became head coach often gives the impression that their $260 million quarterback is somewhat of an afterthought. But that's largely because the staff knows they have one of the league's best at the position.

Roman, Harbaugh and Bischoff are eager to imagine how Herbert will evolve when defenses have to game-plan for a dominant rushing offense, which he has never had.

Still, the Chargers' passing offense is perhaps the team's biggest mystery. L.A. lost tight end Gerald Everett, running back Austin Ekeler, and receivers Keenan Allen and Mike Williams. Those four players made up 57% of Herbert's completions, pass yards and passing touchdowns.

The team hired passing coordinator Marcus Brady, who coached with the Eagles last season as a senior offensive assistant, to guide their passing offense. But the Chargers have just four receivers on the roster: Quentin Johnston, Joshua Palmer, Derius Davis and Simi Fehoko. None of those receivers have a 1,000-yard season in their career.

Brady admittedly isn't sure how the Chargers passing offense will operate yet. He expects the team to have a better idea as it fills out the receiving room following the draft and the remainder of the offseason.

"Right now, it's just about learning the terminology and learning to be able to communicate with each other about the plays," Brady said. "We're kind of getting more into our identity and who we're going to be as we continue to grow."


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