🛣 Headlines About California Highways – January 2022

As we flip the calendar into 2022, we breath a deep sigh of relief (and hope there wasn’t anything infectious in that deep breath we took).

Hopefully, this will be a year where we will finally start to move out of this. You can do your part. Take all the measures you can to prevent further spread of this disease, and to protect you, your family, and those around you. This is what we need to do to get back out on the road having roadtrips.

One thing you can do from your desk is collect headlines, and that’s what I’ve been busily doing. Here are your headlines for January. My goal is to get the updates to the highway pages back to an every other month cadence, so look for updates in early March. And with that, here are your headlines. Ready, set, discuss.


[Ħ Historical information |  Paywalls, $$ really obnoxious paywalls, and  other annoying restrictions. I’m no longer going to list the paper names, as I’m including them in the headlines now. Note: For $ paywalls, sometimes the only way is incognito mode, grabbing the text before the paywall shows, and pasting into an editor. ]

Highway Headlines

  • Crews working to remove rocks, dirt at site of Hwy 1 rockslide in SLO County (KSBY). A roughly 10-mile stretch of Highway 1 remains closed due to a rockslide a couple of miles south of Ragged Point in San Luis Obispo County. The popular road is traveled by millions of people each year from all over the world. “We are heading to San Francisco and now we are stuck in here,” said Fabio Queiroz of Brazil. If you’re planning on taking the coastal highway into Big Sur, you’ll be met with a road closure sign at the elephant seal viewing area in San Simeon. There are also a couple of signs warning of the closure miles before that.
  • SR-135 RESURFACING PROJECT IN SANTA MARIA BEGINS NEXT WEEK (Edhat). A project to resurface six-miles of State Route 135 (Broadway) from the US 101/State Route 135 Interchange to Lakeview Road will begin on Wednesday, Jan. 5. Travelers will encounter weekly lane closures in each direction of State Route 135 Sunday night through Friday morning during the overnight hours between 8 pm and 6 am. Adjacent streets may be closed during the overnight hours and during the day with traffic control from 9 am until 3 pm. Delays should not exceed 10 minutes. Travelers are encouraged to proceed safely in this work zone. The contractor for this $12 million dollar project is CalPortland Construction of Santa Maria, CA.
  • Golden Gate Bridge announces fix for noise nuisance (Marin I-J). Engineers have developed a $450,000 plan to muffle the loud humming noise that has been emanating from the Golden Gate Bridge on windy days. The sound was an unintended result of wind upgrades on the bridge railing last year. Residents living in nearby communities such as Sausalito and San Francisco’s Presidio area were most affected, but the strange humming could be heard from several miles away. The noise is generated by fast northwesterly winds passing through the new railings and wind fairings that were installed on the western side between the two towers.
  • Local leaders representatives respond to Caltrans’ plans for Union Avenue (KBAK). Back on December 15th, Ward 2 Bakersfield City Councilman, Andrae Gonzalez, and other city group leaders and representatives from local bike groups announced they were sending a letter to Caltrans, urging them to make needed improvements to Union Avenue, to stop deaths of pedestrians and cyclists that are happening. “I think we need to remember and put all of this in context, that 28 pedestrian and cyclist fatalities have occurred, within a three-mile stretch on Union Avenue, since 2009. That’s far too many casualties,” Andrae Gonzales, Bakersfield City Councilman for Ward 2, said.
  • City removes historic lampposts off Glendale-Hyperion bridge following thefts (The Eastsider LA). This weekend reports circulated that more classic bronze lampposts had gone missing or were stolen off the Glendale-Hyperion bridge, which links Atwater Village and Silver Lake. While reports of the thefts have not been confirmed, it turns out city crews have been removing some of the nearly 12-foot-high lights for safe keeping before they could be stolen. The Bureau of Street Lighting has removed and stored 18 lights from the bridge, said Department of Public Works spokeswoman Elena Stern. Following reports of thefts in September, the city determined that a total of 7 lampposts had been stolen. But that number has now risen to 17, Stern said.
  • An Ode To Highway 1 (The Nob Hill Gazette). As we contemplate travel in 2022, road trips continue to hold a lot of appeal. And with access to such a storied thoroughfare as Highway 1, Californians aren’t complaining. We celebrate our coastal passageway with a three-part look at its engineering, its personal charms and worthy reasons to explore anew.
  • I-80 Yuba Pass Separation Overhead (SOH) Replacement (FB/District 3). Caltrans is currently seeking public feedback on two proposed Interstate 80 (I-80) improvement projects in Placer and Nevada counties. A $101.8 million project proposes to replace and widen the Yuba Pass Separation Overhead (SOH) bridges near the State Route 20 separation in Nevada County. The project would improve freight efficiency along I-80 by increasing the load carrying capacity and address structural deficiencies that necessitate bridge replacement: concrete cracking and spalling, high corrosive chloride content, superstructure repainting, bridge deck concrete degradation, and weight-bearing pad failures.
  • State Route 18 Emergency Repair Project Update (KBHR 93.3). The California Department of Transportation (Caltrans) continues repairs on an emergency project at a washout section of State Route 18 (SR-18) near Panorama point between 40th St and SR-138 near Crestline. Crews continue to make repairs and bring in necessary equipment and materials. Currently, crews work to keep the area as dry as possible take priority as more winter weather is predicted. To expediate the repairs, the route will remain closed to the public until further notice so crews can utilize the full roadway. Caltrans is evaluating all traffic handling situations and will have more updates on this in the future. Emergency responders will have access for emergency situations.

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🎭 I Am What I Am, I Am My Own Special Creation | Everybody’s Talking About Jamie @ Ahmanson

Everybody's Talking About Jamie @ Ahmanson TheatreMen dressing as women on the theatrical stage. Originally, it wasn’t funny at all. Only men could be actors, so women’s parts were were simply played, seriously, by men. But eventually that theatrical contrivance went by the wayside, and men dressing as women became a focal point for humor. The prime example of that which comes to mind is the musical Sugarbased on the movie Some Like It Hot. But there are numerous other cases, from plays like Charley’s Aunt, to the drag sequences in shows currently on the state such as My Fair Lady or even the newer musicals Tootsie and Mrs Doubtfire. These are all men dressing as women in order to get laughs. But where it might have been funny in the past when mores were a bit different, today it isn’t funny. I’ll repeat for the producers in the back: men dressing as women just to bring on the funny is not funny.

But in 1983, a new musical hit the stage: La Cage Aux Folles (based on the 1973 play). It showcased two men as leads, and featured a man dressing as a women as an alter-ego. Za Za: what we now know as drag performance thanks to the queen extraordinaire, Ru Paul. Although this musical (penned by a gay man) did play on the men-dressing-as-woman schtick, it also introduced an anthem that resonates to this day:

I am what I am
I am my own special creation.
So come take a look,
Give me the hook or the ovation.
It’s my world that I want to take a little pride in,
My world, and it’s not a place I have to hide in.
Life’s not worth a damn,
‘Til you can say, “Hey world, I am what I am.”

I am what I am,
I don’t want praise, I don’t want pity.
I bang my own drum,
Some think it’s noise, I think it’s pretty.
And so what, if I love each feather and each spangle,
Why not try to see things from a diff’rent angle?
Your life is a sham ’til you can shout out loud
I am what I am!

I am what I am
And what I am needs no excuses.
I deal my own deck
Sometimes the ace, sometimes the deuces.
There’s one life, and there’s no return and no deposit;
One life, so it’s time to open up your closet.
Life’s not worth a damn ’til you can say,
“Hey world, I am what I am!”

The anthem of “Be who you are, be true to yourself” is a theme that echoes throughout modern musicals, from stories like Billy Elliot to Kinky Boots to The Prom. This is also an anthem that also is echoed in the show we saw yesterday afternoon at  the Ahmanson Theatre (FB): Everyone’s Talking About Jamie.

As a digression: There is also one more branch to the man dressing as woman theme: True trans- and queer characters. These are much harder to treat realistically on the stage, but it has been done. Arguably, Hedwig and the Angry Inch (with a genderqueer lead) is in that canon, as are the secondary characters in Head Over Heels, which we saw recently at the Pasadena Playhouse. Also notable are some of the characters in Bring It On — The Musical, although the gay/queer friend stereotype is a bit problematic. There should be a Bechdel Test equivalent for gay sidekick characters. But I digress from the digression…

Everyone’s Talking About Jamie is based on a documentary film about Jamie Campbell on the BBC called Jamie: Drag Queen at 16. Jamie, who came out at a young age, lived in a lower-to-middle class town in England wanted to attend his prom … dressed as a girl. As with Billy Elliot, he battled the entrenched bigotry in the town but eventually won. Unsurprisingly, the one review of the LA production I read characterized the production as Kinky Boots and Billy Elliot put through a blender. The British producers of the show saw the documentary, and saw a musical in it. The result was Everyone’s Talking About Jamie, which became a production on London’s West End, and then subsequently did a UK tour and it making its American debut at the Ahmanson.  The show features music, book, and lyrics by Dan Gillespie Sells Music and Orchestrations and Tom Macrae Book and Lyrics, based on an idea by Jonathan Butterell Director and Co-Writer, inspired by aformentioned Firecracker documentary. The musical was also filmed and is available on Amazon Prime, for those that can’t make it to LA.

So what is the story in Jamie. A lot of it is establishing the situation. Jamie is in Year 11 (US equivalent: 12th grade), and in a career assignment class. He wants to be a drag queen, but his teacher dismisses the idea and shows that his testing predicts he’ll be a forklift driver. Others in the class get similarly dismal prospects. It is in this setting that we meet the rest of the class, including his best friend, Pritti Pasha. Pritti, who excels at maths and wants to be a doctor, is told she’ll only be a secretary. Her path, in many ways, is “B” story that echoes the main journey of Jamie.

Another digression: Notable in this show is a reasonable portrayal of Muslim character in the form of his classmates, Pritti Pasha and Fatimah. The production shows them as realistic people who are just like other teens within their religious confines (as opposed to stereotypes). It also shows the hatred they face and have to battle in the real world.

The establishment of the story continues as we meet Jamie’s mom, Margaret and her best friend Ray. They are encouraging Jamie to live his dreams, and even get him red high heel shoes to wear. We also learn that his father wants nothing to do with him, but his mum is hiding that from him. We see Jamie decide that he wants to bring the drag side of his persona out, encouraged by Pritti. He goes to a drag shop to buy a dress, and meets a former drag queen, Hugo (who was previously the famous Loco Chanelle). Hugo gets Jamie his first dress, and arranges a drag show for Jamie. Encourage, Jamie invites his school. You can guess what happens.

Most of his friend are supportive, but there are those who aren’t The second act of the show deals with this, and the importance of finding and being true to yourself. It has some of the strongest ballads in the show, including “It Means Beautiful” and “He’s My Boy”. The ending, of course, is predetermined: Jamie eventually goes to the prom, in a dress, and finds his drag self.

Prior to the show, I had gotten the album of the West End production, and liked the music. I didn’t, however, know the story. Having now seen the production, a few observations. I’ll note that we weren’t sitting in our usual vantage point: we were off on the side in the handicapped seating (due to my wife’s recent injury). More on that in a minute.

First, the negatives. This is very much a West End production, with heavy accents, fast speech, and UK-specific terminology. This gets lost on the American audience, even with a QR code pointer that doesn’t work to explain the slang. It was made worse by being in the handicapped seats: the crispness of the lyrics and words at that location wasn’t to usual Ahmanson standards. There was a similar problem with the audio of the orchestra — for a while, I thought the orchestra might be pre-recorded, but a list of musicians in the program indicated that wasn’t the case. They were revealed to be on-stage at the end of the show, so it was just poor amplification or our location.

Now, the positives. There were some very strong performances, which I’ll get to as I talk about the actors. I did like the overall message of the show, and I also really enjoyed the secondary characters — perhaps even more so than the main character. The character of Margaret New, Jamie’s mom, was a realistic presentation of a mom that wanted everything for her son, despite the flaws and the difficulties. Her anthem in the second act, “He’s My Boy”, stole the show. Also remarkable was the character of Pritti. It was nice to see a stage portrayal that normalized the Muslim faith and showed the similarities instead of emphasizing the differences. Far too often in America we are presented with the image that the only acceptable faith to have strong religious practices is Christianity; faithful adherents of non-Christian faiths are often played stereotypically. I see this far too often with Jews on stage — ask yourself the last time you saw an Orthodox Jew portrayed as a real person. Pritti was a real teen: she had aspirations, she had desires, but she also was fine living within her faith boundaries. This was made clear both when she indicated she was wearing the hijab not because religion told her to, but because she wanted to. It was her. She also didn’t treat being called a virgin as an insult: she was proud of who she was. It was her character that gave Jamie’s character the strength to be true to himself. As such, both Margaret and Pritti really stole the show.

Another remarkable character was Hugo (Loco Chanelle). He provided the essential difference between drag and trans (which clearly a large number of people do not understand). He made clear that drag is putting on a persona — an alter-ego as a way to truly express a character. It isn’t trans (where your brain sees you as a different gender than your body), nor is it cross dressing (where you aren’t becoming a different persona — you’re yourself, but just enjoying to wear opposite gender clothing). Hugo, in his own way, encouraged Jamie to find his true voice.

The other characters — his school mates, the other drag queens — were drawn much more superficially. They had just the characteristics needed to move the story (Dean – bigotry and bullying; Miss Hedge — administrative rigidity; his dad — rejection) but not much more.

The main secondary characters, however, emphasize that the real story in Jamie wasn’t Jamie’s journey. Yes, he was the main character … but for all the effort, you never see his drag persona on stage. Only glimpses. But where you see the real acceptance of themselves is in Hugo, Margaret, and Pritti. It is their journey that fleshes out this story and makes it something that everyone can see themselves it. It isn’t just drag queens, gays, and trans-folk that need to be true to yourself despite what the world is telling you to be. That’s the message here.

So would I recommend this. If you’re in Los Angeles and are up to being in a large indoor theatre for 3 hours, yes. The theatre was perhaps half full, and companies cannot come back without full audiences. We need to demonstrate that theatre is safe. So wear your N95 mask, get your vaccine and booster shot (which will be required), and go to the theatre. But if you can’t: watch this on Amazon Prime.

One last night, before I go to the individuals: 👏🏼👏🏼👏🏼👏🏼 Kudos to the Ahmanson Theatre for their handicapped services. My wife is temporarily in a wheelchair due to a fall, and is non-weight bearing on her leg until at least March. The Ahmanson made it easy. She called ahead of time, and I had already arranged for wheelchair accessible box seats (in the balcony, vs. the mezzanine, but one does what one can with the seats available). CTG had someone meet us at valet parking (which was only $9). They helped her get to our seats and run the vaccine proof gauntlet. They were there with her walker to help her to the restroom. They helped us back to the car. They made this easy.

So let’s turn to the individual performances:

In the lead position was Layton Williams Jamie New. Williams captured Jamie well and moved well. Whether he was believable as his drag persona Mimi is unknown, as we never really see him as Mimi. But he sang beautifully and seemed to be having quite a bit of fun with the role.

My favorite two performers, if you haven’t figured it out by now, were Melissa Jacques Margaret New and Hiba Elchikhe Pritti Pasha. Jacques just brought down the house with her number “He’s My Boy” as well as “If I Met Myself Again”. Elchikhe’s “It Means Beautiful” was haunting. I thought both performances were strong.

The other strong back character was a dual role by a single actor: Roy Haylock Hugo  and his alter ego, Bianca Del Rio Loco Chanelle.  We really get to know more about Hugo than we do Del Rio — we just see her briefly as near the drag show. But Haylock brings a reality to Hugo that allows you to see what drag is: an escape from a harsh world, a world where the glitter and the glamour allows one to become something better, something more. That’s an amazing transformation to see. Haylock does a wonderful job in “The Legend of Loco Chanelle”

Among the tertiary characters, there are few standouts. Shabna Gulati Ray provides some good comic moments as Margaret’s best friend; similarly, the three drag queens Leon Craig Sandra Bollock, James Gillan Tray Sophisticay, and David O’Reilly Laika Virgin provide comic relief as they give advice to Jamie. George Sampson Dean Paxton and Cameron Johnson Jamie’s Dad are the catalysts for the conflict: the former as the bully who hates gays, drag queens, and foreigners; the latter as a father who is disappointed in what his son turned out to be. The last standout was Gillian Ford Miss Hedge, who portrayed the inflexible schoolteacher and administrator who didn’t believe in Jamie or his right to be himself in this town.  Rounding out the cast were Richard Appiah-Sarpong Cy; Zion Battles Levi; Kazmin Borrer Vicki; Ryan Hughes Mickey; Jodie Knight Fatimah; Harriet Payne Bex; Talia Palamathanan Becca; and Adam Taylor Sayid. Swings (who are vitally important in these days of COVID) are: Rachel Seirian, Simeon Beckett, and Emma Robotham-Hunt. Adam Taylor was the understudy for Jamie.

Wow. That’s the first time I’ve done an actor list without a single reference to AboutTheArtists. This is a 100% imported cast.

Less imported was the on-stage but hidden band (🌴 indicates local; 👑 indicates UK): 👑 Theo Jamieson Musical Supervisor /Director; 👑 Gareth Lieske (FB) Guitars and Cover MD; Dan Hall Bass Guitar and Bass Synth; 🌴 Keith Fiddmont Tenor Sax; 🌴 James Ford III Trumpet, Flugelhorn, Piccolo; 👑 Ali Van Ryne Drums; 👑 Matthew West PercussionRounding out the music department was: Dan Gillespie Sells Music and Orchestrations; 🌴 Robert Payne Contractor.

Turning to the production and design team. The production was directed by Jonathan Butterell and choreographed by Katie Prince. Supporting them were Cameron Johnson Resident Director; Simeon Beckett Dance Captain; and Emma Robotham-Hunt Asst. Dance Captain. The direction was good in that the characters were believable as who they were. The dances were strong but not particularly memorable.

The design was interesting. There were three major set pieces: a collection of desks that could be moved around and lighted, almost reminding me of the set of A Christmas Carol; a piece that opened up to provide the New’s apartment (which seemed remarkably easy to move), and a back piece that used projects to provide place –which worked so-so, as the coloring (or should I say colouring) often swallowed the projections. This was all designed by the team of: Anna Fleischle Designer; Lucy Carter Lighting Designer; Luke Halls Video Designer; and executed by Patrick Molony Production Manager. The sound design by Paul Groothuis was generally good, but could use a bit more oomph in the crispness department. Rounding out the production team was: Will Burton CDG Casting Director; Maggie Swing US Production Stage Manager. I’m not listing producers or the tour info. I do, however, give credit to the COVID teamwhich is not enumerated for the tour. On the CTG side, this is Niki Armato Facilities Assistant / COVID Compliance Officer; and a large team of supporting COVID compliance officers: Chase Anderson-Shaw, Monica Greene, Dean Grosbard, Henry Kelly, and Denise Reynoso.

Everyone’s Talking About Jamie continues at the Ahmanson Theatre (FB), COVID permitting, until February 20. Tickets are available through the CTG website. Discount tickets may be available through Goldstar or TodayTix.

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking at the first half of 2022: February brings Something Rotten at 5 Star Theatricals (FB) and Marvin’s Room at Actors Co-op (FB). March brings The Lehman Trilogy at the Ahmanson Theatre (FB), Trayf at the Geffen Playhouse (with the TAS Live Theatre group); and Ann at The Pasadena Playhouse (FB). April brings the Southern California Renaissance Faire; and Tootsie at Broadway in Hollywood (FB). May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), plus as much of the Hollywood Fringe Festival as we have the energy for.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsFootlights, as well as productions I see on GoldstarOn Stage 411 or that are sent to me by publicists or the venues themselves. Want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!



🛣 Changes to the California Highway Website covering November-December 2021

The following is the change log for the November-December 2021 updates to the California Highways pages:

2021 is done. You had such promise, 2021. Why did you have to piss it away by falling in with the low-life loser crowd? Luckily, there were a growing number that put the public good over blatant self-interest. Not far enough, though.

For me and my family, the end of 2021 has been hard. My wife fell the Saturday before Thanksgiving, and broke her knee and the surrounding bones. She was in acute care for a week, then in-patient rehab for two more weeks (meaning three weeks of travel back and forth between Northridge and Burbank), and now is getting in-home rehab — with no weight bearing until the end of February. This has added caregiving to the load—I don’t mind doing it, but it does add to the work and stress.

But the hospital was there when we needed it, because the people in the area headed the pleadings of the scientists and got vaccinated. This meant that there was acute care and rehab space. Many throughout this country are no so lucky. Hospitals are overloaded, and the new Ο (Omicron) variant doesn’t help with its faster spread. This shouldn’t be a partisan issue: The nation came together for the sake of the common good and to fight a common enemy in the first half of the 20th century. We saw our “freedoms” temporarily limited during WWI and WWII through rationing and other controls, and cheerfully did it to bring the nation out of a crisis. But that attitude of America coming together to fight a common foe has been lost today. Whether it is poor leadership or leaders taking advantage of a crisis for their political power, what should be a common fight against a public health enemy has become partisan. Move beyond that partisanship. Just like the nation stepped up for their Polio and Smallpox vaccines to defeat those public health scourges, step up and get your COVID vaccines and boosters unless there are legitimate medical reasons not to do so. Together we can fight this, so we can get back out on the roads. If there are any questions I can answer to ally your vaccine hesitancy, please don’t hesitate to contact me.

Those reading this on ꜲRoads will miss my usual pleadings related to Mr. Spike Protein and his antics over the last two years, because some feel that public health is a partisan issue. Those who want to see my pleadings can go over to the full Changelog on the site; those who want to stick their heads in the sand can go to (a city in Michigan). All I’ll say is that you know what you can do to help make 2022 better, and help bring the nation (and the world) out of this crisis, so we can get back on the roads and stumble headfirst into the next one.

But let’s turn our attention to something more pleasant: the roads of the great state of California. From the rural areas in the far northern environs of the state to border commerce in the south, from the deserts of Nevada and Arizona to the Pacific; from the great Sierra mountains to the depths of Death Valley; from the urban areas to rural farmland—California has a vast road network to maintain and grow. It is a network that is vital to the success of the state: its commerce, its people, its growth. It is the mission of the California Highways website to document that network: its history, its peculiarities, and the significant changes that are coming down the road. It is a journey we go on together… once you show proof of vaccination and your boosters, and you wear your mask. After all, I have a sick wife at home, and what you do with respect to communicable diseases impacts not just you, but the broader community.

So here are your updates covering the months of November and December:

Updates were made to the following highways, based on my reading of the (virtual) papers in November and December 2021 (which are posted to the roadgeeking category at the “Observations Along The Road” and to the California Highways Facebook group) as well as any backed up email changes. I also reviewed the the AAroads forum (Ꜳ). This resulted in changes on the following routes, with credit as indicated [my research(ℱ), contributions of information or leads (via direct mail or ꜲRoads) from Concrete Bob(2) , Tom Fearer(3)mrsman(4): Route 1(ℱ), Route 3(ℱ), I-5(ℱ), US 6(3), I-8(ℱ), Pre-1961 Route 10(3), Route 11(ℱ,3), I-15(ℱ), Route 25(ℱ), Route 37(ℱ), Route 42(3), Route 43(ℱ), Route 46(ℱ), Route 70(ℱ), Route 84(ℱ), Route 96(ℱ), Route 99(ℱ,3), US 101(ℱ,3), Route 125(ℱ), Route 129(ℱ), Capitol Southeast Connector/Route 148(2), Route 152(ℱ),  Route 156(ℱ), Route 174(ℱ), Route 182(3), US 199(3), Route 247(ℱ), Route 260(4), Route 263(ℱ), Route 266(3), Route 299(3), US 395(ℱ), US 399(3), I-580(ℱ), I-880(4), Route 905(ℱ,3).
(Source: private email, Highway headline posts through December 2021 as indicated, AARoads through 12/31/2021)

Reviewed the Pending Legislation page, based on the California Legislature site. As usual, I recommend to every Californian that they visit the legislative website regularly and see what their legis-critters are doing. As many people are unfamiliar with how the legislature operates (and why there are so many “non-substantive changes” and “gut and amend” bills), I’ve added the legislative calendar to the end of the Pending Legislation page. A new fiscal year starts October 1, but the legislature does not reconvene until January 2022. As such, there were no new bills or resolutions from either chamber of the state legislature.

I checked California Transportation Commission page for the results of the December 2021 meeting of the  California Transportation Commission. As always, note that I tend not to track items that do not impact these pages — i.e., pavement rehabilitation or replacement, landscaping, drainage, culverts, roadside facilities, charging stations, or other things that do not impact the routing or history, unless they are really significant. As such, the following items were of interest:

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