The Brief

LOS ANGELES — Louis Gossett Jr., the first Black man to win a supporting actor Oscar and an Emmy winner for his role in the seminal TV miniseries "Roots," has died. He was 87.

Gossett's first cousin Neal L. Gossett told The Associated Press that the actor died in Santa Monica, California. A statement from the family said Gossett died Friday morning. No cause of death was revealed.

Gossett's cousin remembered a man who walked with Nelson Mandela and who also was a great joke teller, a relative who faced and fought racism with dignity and humor.

"Never mind the awards, never mind the glitz and glamor, the Rolls-Royces and the big houses in Malibu. It's about the humanity of the people that he stood for," his cousin said.

Louis Gossett always thought of his early career as a reverse Cinderella story, with success finding him from an early age and propelling him forward, toward his Academy Award for "An Officer and a Gentleman."

Gossett broke through on the small screen as Fiddler in the groundbreaking 1977 miniseries "Roots," which depicted the atrocities of slavery on TV. The sprawling cast included Ben Vereen, LeVar Burton and John Amos.

Gossett became the third Black Oscar nominee in the supporting actor category in 1983. He won for his performance as the intimidating Marine drill instructor in "An Officer and a Gentleman" opposite Richard Gere and Debra Winger. He also won a Golden Globe for the same role.

"More than anything, it was a huge affirmation of my position as a Black actor," he wrote in his 2010 memoir, "An Actor and a Gentleman."

A lucky break

He had earned his first acting credit in his Brooklyn high school's production of "You Can't Take It with You" while he was sidelined from the basketball team with an injury.

"I was hooked — and so was my audience," he wrote in his memoir.

His English teacher urged him to go into Manhattan to try out for "Take a Giant Step." He got the part and made his Broadway debut in 1953 at age 16.

"I knew too little to be nervous," Gossett wrote. "In retrospect, I should have been scared to death as I walked onto that stage, but I wasn't."

Gossett attended New York University on a basketball and drama scholarship. He was soon acting and singing on TV shows hosted by David Susskind, Ed Sullivan, Red Buttons, Merv Griffin, Jack Paar and Steve Allen.

Gossett became friendly with James Dean and studied acting with Marilyn Monroe, Martin Landau and Steve McQueen at an offshoot of the Actors Studio taught by Frank Silvera.

In 1959, Gossett received critical acclaim for his role in the Broadway production of "A Raisin in the Sun" along with Sidney Poitier,Ruby Dee and Diana Sands.

He went on to become a star on Broadway, replacing Billy Daniels in "Golden Boy" with Sammy Davis Jr. in 1964.

Racism, L.A.-style

Gossett went to Hollywood for the first time in 1961 to make the film version of "A Raisin in the Sun." He had bitter memories of that trip, staying in a cockroach-infested motel that was one of the few places to allow Black people.

In 1968, he returned to Hollywood for a major role in "Companions in Nightmare," NBC's first made-for-TV movie that starred Melvyn Douglas, Anne Baxter and Patrick O'Neal.

This time, Gossett was booked into the Beverly Hills Hotel and Universal Studios had rented him a convertible. Driving back to the hotel after picking up the car, he was stopped by a Los Angeles County sheriff's officer who ordered him to turn down the radio and put up the car's roof before letting him go.

Within minutes, he was stopped by eight sheriff's officers, who had him lean against the car and made him open the trunk while they called the car rental agency before letting him go.

"Though I understood that I had no choice but to put up with this abuse, it was a terrible way to be treated, a humiliating way to feel," Gossett wrote in his memoir. "I realized this was happening because I was Black and had been showing off with a fancy car — which, in their view, I had no right to be driving."

After dinner at the hotel, he went for a walk and was stopped a block away by a police officer, who told him he broke a law prohibiting walking around residential Beverly Hills after 9 p.m. Two other officers arrived and Gossett said he was chained to a tree and handcuffed for three hours. He was eventually freed when the original police car returned.

"Now I had come face-to-face with racism, and it was an ugly sight," he wrote. "But it was not going to destroy me."

In the late 1990s, Gossett said he was pulled over by police on the Pacific Coast Highway while driving his restored 1986 Rolls Royce Corniche II. The officer told him he looked like someone they were searching for, but the officer recognized Gossett and left.

He founded the Eracism Foundation to help create a world where racism doesn't exist.

A near-miss with the Manson family

Gossett made a series of guest appearances on such shows as "Bonanza," "The Rockford Files," "The Mod Squad," "McCloud" and a memorable turn with Richard Pryor on "The Partridge Family."

In August 1969, Gossett had been partying with members of the Mamas and the Papas when they were invited to actor Sharon Tate's house. He headed home first to shower and change clothes. As he was getting ready to leave, he caught a news flash on TV about Tate's murder. She and others were killed by Charles Manson's associates that night.

"There had to be a reason for my escaping this bullet," he wrote.

Louis Cameron Gossett was born on May 27, 1936, in the Coney Island section of Brooklyn, New York, to Louis Sr., a porter, and Hellen, a nurse. He later added Jr. to his name to honor his father.

"The Oscar gave me the ability of being able to choose good parts in movies like 'Enemy Mine,' 'Sadat' and 'Iron Eagle,'" Gossett said in Dave Karger's 2024 book "50 Oscar Nights."

He said his statue was in storage.

"I'm going to donate it to a library so I don't have to keep an eye on it," he said in the book. "I need to be free of it."

Wins but no leads

Gossett appeared in such TV movies as "The Story of Satchel Paige," "Backstairs at the White House, "The Josephine Baker Story," for which he won another Golden Globe, and "Roots Revisited."

But he said winning an Oscar didn't change the fact that all his roles were supporting ones.

He played an obstinate patriarch in the 2023 remake of "The Color Purple."

Gossett struggled with alcohol and cocaine addiction for years after his Oscar win. He went to rehab, where he was diagnosed with toxic mold syndrome, which he attributed to his house in Malibu.

In 2010, Gossett announced he had prostate cancer, which he said was caught in the early stages. In 2020, he was hospitalized with COVID-19.

He also is survived by sons Satie, a producer-director from his second marriage, and Sharron, a chef whom he adopted after seeing the 7-year-old in a TV segment on children in desperate situations. His first cousin is actor Robert Gossett.

Gossett's first marriage to Hattie Glascoe was annulled. His second, to Christina Mangosing, ended in divorce in 1975 as did his third to actor Cyndi James-Reese in 1992.

After a delay that has threatened plans for World Cup celebrations across the U.S., the federal government said this week that it's moving forward with awarding host cities including Los Angeles hundreds of millions of dollars in funding for security.

Host cities have been counting on the $625 million in federal funds, which were already allocated in last year's "One Big Beautiful Bill" for security costs related to putting on the global tournament.

L.A. will host eight matches at SoFi Stadium in Inglewood, a five-day fan festival at the Coliseum and watch parties and fan zones around the region – and those events will require additional police and resources to pull off.

FEMA, the Federal Emergency Management Agency, is responsible for allocating the funding to the 11 host city committees in the U.S. Last month, officials in Miami and Kansas City raised the alarm that they may need to cancel fan plans if the money didn't come through soon. Los Angeles officials declined to weigh in at the time.

In a statement provided to LAist, FEMA blamed the ongoing government shutdown of the Department of Homeland Security for the delay.

"While the recent funding lapse temporarily slowed the grant process and impacted FEMA’s grants management system, DHS and FEMA have completed their review and approval of applications" the statement said. "Grants supporting host jurisdictions and security efforts will begin going out soon.”

But the saga's not over yet. Los Angeles and the Bay Area are still waiting on those grants, according to a statement from the California Governor's Office of Emergency Services, which is responsible for disbursing federal funds to the World Cup host committees in the state.

The money will be paid out as reimbursements – but organizers can't make plans to use the funds until they know what they've been awarded.

“Cal OES will continue pressing the federal government to announce the World Cup Grant Program awards so host city communities can plan responsibly and ensure the security resources needed for a global event like the World Cup are in place," a CalOES spokesperson told LAist via email.

LAist has asked FEMA, Cal OES and the L.A. host committee how much money they requested for security costs in Los Angeles, but has not received a response.

It's less than three months until the first World Cup match in the U.S. will kick off in Los Angeles on June 12.

In a cozy dance studio in Garden Grove, dancers of all experience levels, ages and backgrounds flock to Queer Latin Dance OC to learn the steps to salsa, cumbia and bachata.

For many, the dance class is more than educational — it’s a place to get away from it all, to find community and to uplift one another through art.

When Rodrigo Marquez founded Queer Latin Dance OC at the beginning of this year, he said he was filling a gap in Orange County that often lacks safe spaces for the LGBTQ+ community.

“I wanted to make creative communities for us to learn in a safe environment,” Marquez said. “Everyone's here to learn, and I want the pressure of whatever's going on in the world, just to forget for the next hour.”

Queer Latin Dance OC meets three times a week to learn the steps to salsa, cumbia and bachata.

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Destiny Torres

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LAist

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What are the dance lessons like? 

When creating his teaching plan, Marquez said he considers the range of experience his students might have. Everybody starts somewhere, he added, and the hardest part is showing up.

“It is scary, but if you're already showing up, then just jump in and just forget about the world. It's a great distraction, and dancing makes you feel better,” Marquez said.

Philip Lee, an elementary school teacher from Tustin, took his first class with the group Monday night, trying the quick steps of salsa.

“I had a stressful day. … All my stress that I had in my neck and upper back just kind of went away,” Lee said, adding that the high energy in the room is infectious. “It was nice just laughing with people in the community and meeting new people.”

Lee said the dance lesson gave him a space to be with community.

“The queer community specifically, and just kind of let my guard down and just be free and laugh and enjoy being me and celebrated for a love for the arts,” Lee said. “That's not a space that is always safe.”

Before taking lessons at Queer Latin Dance OC, Melba Rivera said she came in with zero dance experience.

“You come as you are. No matter what level you're at or how you identify or what your experience is, everybody's here and everybody's learning,” Rivera said. “It's a very encouraging and motivating space.”

Salsa and bachata are social dances, Marquez said, but one thing that makes his class unique to many is that regardless of gender identity, anyone can follow or lead.

Typically, the lead falls to the male dancer, and women follow. Marquez said it was important that no one feels pressured to be one or the other.

“That's why I created this, so people like me can just come and learn, not be expected to be in a gender role based on how they look,” Marquez said. “They want to dance how they feel.”

Why it matters

Taryn Heiner said, especially in Orange County, it’s challenging to find spaces that are queer-friendly and queer-open.

“That's really what makes this space so kind and warm and welcoming,” Heiner said. “We have all that base understanding of respecting one another, no matter who they are, who they love and what they do.”

Growing up in Orange County, not every room you walk into is a safe space, Rivera added.

“So walking into a room like this, where everybody's friendly, everybody's learning, everybody's just here for the same purpose to get better, to support each other, is really important,” Rivera said. “Not just in the class, but [in] the friendships we make outside of the classroom.”

Outside of dance class, Marquez’s students meet up for monthly hikes and other get-togethers. Marquez said it is a privilege and an honor to bring people together through his love for dance.

“I've seen people become friends since January, and I see them practice outside of practice,” Marquez said. “I've always had a dream to do my own dance classes, but to do it in a way where people can connect and just be themselves. It's far greater than that.”

Queer Latin Dance OC offers lessons to dancers of all experience levels and has created a new community hub in Orange County.

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Destiny Torres

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LAist

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Want to dance? 

Salsa, cumbia and bachata classes are held three nights a week on Mondays, Tuesdays and Thursdays. Classes are $20 per session, but Marquez also offers a free beginner salsa class every Monday.

You can register for the class of your choice here. Payments are taken in person.

Border Patrol agents have been roving from city to city over the last 15 months, far from their home bases in California and elsewhere along the U.S.-Mexico border, engaged in an unprecedented mass deportation campaign.

A collaboration between CalMatters, Evident Media and Bellingcat has tracked these agents, documenting their tactics on the ground and through mountains of video footage, since their first proof-of-concept raid in Bakersfield in January 2025.

Exactly one year later, an Immigration and Customs Enforcement agent shot and killed Renée Good in Minneapolis, followed weeks later by the killing of Alex Pretti by a Border Patrol agent.

Our investigation shows that beyond those two shootings, immigration agents engaged in a pattern of force and questionable detention, aggressive tactics that courts have said likely violated the Constitution, as they moved from Bakersfield to Los Angeles, and then Chicago and Minneapolis.

In each city, federal courts stepped in to restrain them from violating civil liberties in that jurisdiction. Agents later deployed to another city. The video evidence suggests agents’ tactics became more brazen with each stop.

Under President Donald Trump, immigration agents have operated without typical public accountability. Many agents wear masks. Incident reports are largely hidden from the public.

“We are in a completely uncharted world now with these masked agents,” said John Roth, who served as inspector general of the Department of Homeland Security under Presidents Barack Obama and Trump.

“The first thing that you do when you give an agent a gun and a badge and the authority over American people is to make sure that they follow the Constitution, period,” he said.

In this new film, we focus on the activity of five agents from the US-Mexico border whose identities we’ve been able to confirm.

Watch the documentary

We are not aware of any disciplinary action taken against these agents. DHS did not respond to requests for comment; the individual agents either declined to comment or didn’t respond to calls or emails.

We showed the incidents to Roth and Steve Bunnell, former DHS general counsel. Both have testified before Congress, raising the alarm about what they see as a dismantling of the department’s accountability and credibility. Roth called the incidents “difficult to watch.”

“There are sort of two essential components of DHS and law enforcement generally being effective, and that’s trust and credibility,” Bunnell said. “And they have lost those things to the extent they had them.”