When much of Altadena burned in January, it affected not just the city’s homes but also its businesses. Popular local shops went up in flames just like everything else, and work-from-home artisans — displaced from not just their residences but also their work spaces and all the materials contained within — were suddenly without a place to live or a place to work.
On the Westside, the Palisades fire, also in January, tore through Pacific Palisades and Malibu, forever changing the fabric of these tight-knit neighborhoods and small businesses. Although rebuilding efforts are underway, progress and construction are expected to take several years as residents and business owners deal with permit approval, insurance hindrances and inflation.
Even now, local businesses that remain have struggled to regain a foothold.
With the giving spirit in mind this holiday season, we’ve put together this list of gifts from Altadena, Pacific Palisades and Malibu businesses, all of whom were affected in some way by the Eaton and Palisades fires. Purchase one of these items and you’ll spread good cheer (and good money) around areas that still need all the help they can get.
If you make a purchase using some of our links, the L.A. Times may be compensated. Prices and availability of items and experiences in the Gift Guide and on latimes.com are subject to change.
Exactly a year after the Eaton fire broke out, musicians are banding together once more for an upcoming benefit show, called A Concert for Altadena.
As a way to both raise funds and bring the community together, the night is set to include performances from musicians like Jackson Browne, Dawes & Friends, Aloe Blacc, Jenny Lewis, Everclear, Stephen Stills, Mandy Moore, Judith Hill, Brad Paisley, Ozomatli, Brandon Flowers of the Killers and more.
Many of the featured acts have ties to Los Angeles and Altadena specifically, like Dawes, an indie band from Altadena who notably sang a lively rendition of “I Love L.A.” at this year’s Grammys ceremony. Moore, who is also performing, similarly lost their homes in the fire.
“I’ve seen firsthand how music can mobilize people for good. This concert brings together artists, fans, and neighbors for something bigger than all of us — recovery, hope, and rebuilding lives,” said Grammy winner Eric Krasno. The guitarist, who also lived in Altadena, helped organize the event and is set to perform.
Even behind the scenes, people like Kevin Lyman, who founded the Vans Warped Tour and is a longtime Altadena resident, is working as the event’s lead producer.
“Music has always been a force for community. With this event, we’re not just putting on a show — we’re helping Altadena rebuild homes, restore businesses, and heal hearts. This night is about unity and purpose,” said Lyman.
All of the proceeds from the show will go to the Pasadena Community Foundation’s Eaton Fire Relief & Recovery Fund, which helps provide resources to families impacted, and the Altadena Builds Back Foundation, which focuses on the long-term recovery of housing in the neighborhood.
On the night of September 24, 2025, Hollis Frazier-Herndon performed an acoustic rendition of his song “Eldest Child” for a sold-out crowd at USC’s Shrine Auditorium. During his croon of the lyrics, “Eldest child, eldest child, I know your momma and your daddy so goddamn proud. They don’t know me, no. They don’t know me now,” the artist known as 2hollis went from a fractured growl to a sweet silky falsetto to a full collapse into tears.
It was a moment of raw catharsis as well as a culmination. During a pre-show interview backstage, Hollis revealed the hidden meaning behind the lyrics. He said the figurative “momma and daddy” are actually his fans, whose expectations he’s glad he’s fulfilled, even though they “don’t actually know each other” in real life. Thus, a sold-out crowd enthusiastically singing back at him evoked an emotional release. In tandem with that though, is the fact that this was 2hollis’ first show in his hometown since his Altadena childhood house burned down in the January 2025 fires. The embrace from his extended community after he persevered through that tragedy and continued to ascend to musical stardom was palpable.
“I’m at a place now where I feel like, in a way, it’s sort of a phoenix situation,” Hollis said about his post-fire rise from the ashes. “The whole town burned down. It was terrible and insane. But it weirdly felt like that needed to happen [to make the new album what it is]. I don’t know, it’s hard seeing somewhere you grew up just be a deserted place.”
On the day before the release of his fourth album, “star,” in April, 2hollis posted a picture of a burnt-edged tarot card with the same title. He added a message explaining that the star card was the only thing he and his mother found intact when they returned to Altadena to assess the damage. It was also later reported by 032c Magazine that atop a tall hill behind Hollis’ family property existed a wooden and metal star statue filled with lightbulbs that would glow at night. That star, which Hollis and his childhood friends would hike up to, also burned. The album “star,” 2hollis’ best version of his signature crystalline hardstyle EDM, meets grimy rage trap, meets velvet emo pop punk, emerged directly and impactfully from the remains of the roaring flames.
At the end of the full throttle album opener “flash,” Hollis said he added recorded sounds of the wind chimes from his Altadena home porch, triggered by the Santa Ana winds in the lead up to the fire. You can also hear faint gusts and flame sounds emerge sparsely throughout the project. He let the weather itself dictate the type of immersive experience the album could be, even as it also chronicles his layered chase for notoriety and glory.
“There are a lot of self-reflective moments, and it is very personal and emotional, but it’s also like one big party,” he explained. “I feel like, in a f—ed up kind of way, that’s what a fire is, too. It’s so big and full of visceral anger and emotion and almost a sad kind of wave. But then, also, it’s lit.”
2hollis is a visual thinker, thus he envisions scenes and uses optical inspiration to craft his imaginative rave-like soundscapes. Grammy-winning producer Finneas, during a recent interview with Spotify, recalled a time in the studio with 2hollis when he described a sound he was trying to capture as “a crystal with a pretty face on it.” This is a regular practice. Backstage, he described the process of juxtaposing an RL Grime-esque intense trap drop with a synth piano inspired by the movement and presence of a porcelain Chinese lucky cat he kept in his bedroom studio at the Altadena house. This was for his song “burn” from “star,” a scorcher which also happened to be the last song recorded in his home before the flames hit.
For 2hollis’ most openly psyche’d song on the album, “tell me,” where he professes lyrics like, “Everybody I don’t know tryna know me these days I don’t even know who I am,” his mental visual for the ending electro drop is illuminating. “I always imagined heavy rain there and lightning shining on someone’s face,” Hollis said about a perhaps heroic moment linked to the fire. “And it’s also like a face-off. Maybe me versus my ego on a rainy war field at the end of ‘Squid Game.’”
2hollis often creates outlandish alternate worlds he hopes to thrust his listening audience into. “I think there’s become this thing with a lot of artists where they feel the need to be relatable,” he proclaimed questioningly. “That’s cool, but I want [to present] the fantasy of, ‘Let me listen and pretend I’m not me for a few minutes.” In a time of constantly looming shaky ground, Hollis presents escapism as mindful.
2hollis
(Sandra Jamaleddine)
2hollis, at times, appears in tandem with a white tiger. The animal bears the name of his first album and appears on stage at his shows as a large figurine that roars vehemently behind him during song transitions. As much as it feels a part of his fantastical sonic world, it is also deeply tied to his personal story.
On a follow-up call from backstage at a later show in Detroit, Hollis recalled a period of debilitating psychosis he experienced at 18 years old. He mediated and prayed to Archangels as an attempt to pull himself back together. When he invoked the spirit of the Angel Metatron, he would picture a white tiger destroying all the darkness and “demonic shit” around him. “It was wild and sounds insane, but it really helped me come out of it,” he said.
The more one speaks to Hollis, the more one realizes he embodies the Shakespearean line “All the world’s a stage.” Even in the most wholesome times in his life, as a little league baseball player and school theater kid, he would get a similar “butterfly in the stomach feeling” from the performance of it all. But by that same token, he is also someone who values solitude and garnered his appreciation for it from Altadena itself.
Hollis describes it as a place of “untouched, unscathed innocence.” A place where he could walk his dog up to the star behind his home, meditate, and look at the city of LA in the distance. “I go back there all the time even though there’s nothing there anymore,” Hollis said from Detroit about his home’s unending pull. “It’s just comforting to be there by myself. The energy that was there before didn’t die.”
That far-gone youthful time alone is where Hollis dreamed of the world he’s in now. He said, if he could, he’d say to that wide-eyed yet apprehensive kid, “Dude, you’re doing it, you were right, you knew. Now it’s beautifully harmoniously coming together.” On “tell me” 2hollis raps that he’s equal parts scared of “press,” “death,” and “judgment.” But now, with overwhelming chaos in his rearview, he proclaims, “I’m running headfirst into everything. I’m not dying. I’m not scared of sh—.”
The firestorms that broke out in January ravaged two distinctly different stretches of Los Angeles County: one with grand views of the Pacific Ocean, the other nestled against the foothills of the San Gabriel Mountains.
But so far, a push from congressional Republicans to investigate the Jan. 7 firestorm and response has been focused almost exclusively on the Palisades fire, which broke out in L.A.’s Pacific Palisades and went on to burn parts of Malibu and surrounding areas.
In a letter to City Council President Marqueece Harris-Dawson, two U.S. senators this week intensified that investigation, saying they want an enormous trove of documents on Los Angeles Fire Department staffing, wildfire preparations, the city’s water supply and many other topics surrounding the devastating blaze.
U.S. Sens. Rick Scott (R-Fla.) and Ron Johnson (R-Wis.) asked for records related to several issues raised during and after the Palisades fire, including an empty reservoir and the failure to fully extinguish a previous fire that was later identified as the cause.
In contrast, the letter only briefly mentions the Eaton fire, which broke out in the unincorporated community of Altadena and spread to parts of Pasadena. That emergency was plagued by delayed evacuation alerts, deployment issues and allegations that electrical equipment operated by Southern California Edison sparked the blaze.
Both fires incinerated thousands of homes. Twelve people died in the Palisades fire. In the Eaton fire, all but one of the 19 who died were found in west Altadena, where evacuation alerts came hours after flames and smoke were threatening the area.
Scott and Johnson gave Harris-Dawson a deadline of Nov. 3 to produce records on several topics specific to the city of L.A.: “diversity, equity and inclusion” hiring policies at the city’s Fire Department; the Department of Water and Power’s oversight of its reservoirs; and the removal of Fire Chief Kristin Crowley by Mayor Karen Bass earlier this year.
Officials in Los Angeles County said they have not received such a letter dealing with either the Palisades fire or the Eaton fire.
A spokesperson for Johnson referred questions about the letter to Scott’s office. An aide to Scott told The Times this week that the investigation remains focused on the Palisades fire but could still expand. Some Eaton fire records were requested, the spokesperson said, because “they’re often inextricable in public reports.”
The senators — who both sit on the Senate’s Committee on Homeland Security and Governmental Affairs — opened the probe after meeting with reality TV star Spencer Pratt, who lost a home in the Palisades fire and quickly became an outspoken critic of the city’s response to the fire and subsequent rebuilding efforts. At the time, the senators called the Palisades fire “an unacceptable failure of government to protect the lives and property of its citizens.”
The investigation was initially billed as a look at the city’s emergency preparations, including the lack of water in a nearby reservoir and in neighborhood fire hydrants the night of the fire. The Times first reported that the Santa Ynez Reservoir, located in Pacific Palisades, had been closed for repairs for nearly a year.
The letter to Harris-Dawson seeks records relating to the reservoir as well as those dealing with “wildfire preparation, suppression, and response … including but not limited to the response to the Palisades and Lachman fires.”
Officials have said the Lachman fire, intentionally set Jan. 1, reignited six days later to become the Palisades fire. A suspect was recently arrested on suspicion of arson in the Lachman fire. Now, the senators are raising concerns about why that fire wasn’t properly contained.
The sweeping records request also seeks communications sent to and from each of the 15 council members and or their staff that mention the Palisades and Eaton fires. At this point, it’s unclear whether the city would have a substantial number of documents on the Eaton fire, given its location outside city limits.
Harris-Dawson did not provide comment. But Councilmember Hugo Soto-Martínez, who serves on the council’s public safety committee, made clear that he thinks the senators are confused by Southern California’s geography — and the distinctions between city and county jurisdictions.
“MAGA Republicans couldn’t even look at a map before launching into this ridiculous investigation,” he said. “DEI did not cause the fires, and these senators should take their witch hunts elsewhere,” he said in a statement.
Officials in L.A. County, who have confronted their own hard questions about botched evacuation alerts and poor resource deployment during the Eaton fire, said they had not received any letters from the senators about either fire.
Neither Los Angeles County Supervisor Kathryn Barger — who currently serves as board chair — nor Supervisor Lindsey Horvath had received such a document request, according to their aides. Barger represents Altadena, while Horvath’s district includes Pacific Palisades, Malibu and unincorporated communities affected by the Palisades fire.
Monday’s letter also seeks records “referring or relating to any reports or investigations of arson, burglary, theft, or looting” in fire-affected areas, as well as the arrest of Jonathan Rinderknecht, the Palisades fire arson suspect. It also seeks documents on the council’s efforts to “dismantle systemic racism” — and whether such efforts affected the DWP or the Fire Department.
Alberto Retana, president and chief executive of Community Coalition, a nonprofit group based in Harris-Dawson’s district, said he too views the inquiry from the two senators as a witch hunt — one that’s targeting L.A. city elected officials while ignoring Southern California Edison.
“There’s been reports that Edison was responsible for the Eaton fire, but there’s [nothing] that shows any concern about that,” he said.
Residents in Altadena have previously voiced concerns about what they viewed as disparities in the Trump administration’s response to the two fires. The Palisades fire tore through the mostly wealthy neighborhoods of Pacific Palisades and Malibu — home to celebrities who have since kept the recovery in the spotlight. Meanwhile, many of Altadena’s Black and working-class residents say their communities have been left behind.
In both areas, however, there has been growing concern that now-barren lots will be swiftly purchased by wealthy outside investors, including those who are based outside of the United States.
Scott, in a news release issued this week, said the congressional investigation will also examine whether Chinese companies are “taking advantage” of the fire recovery. The Times has not been able to independently verify such claims.
The feel of an Italian festa in Altadena, the South Bay’s “time capsule” Japanese food scene, delivery drones, a tasting menu hidden in a parking lot, more downtown L.A. closures, a Basque restaurant’s last days. Plus, recycle or reuse? And a bar that celebrates burlesque and red Solo cups. I’m Laurie Ochoa, general manager of L.A. Times Food, with this week’s Tasting Notes.
Good food, good wine, good neighbors
The happy, chaotic scene outside Good Neighbor Bar and West Altadena Wine + Spirits with families enjoying Triple Beam Pizza, one of the rotating vendors appearing during the shop and bar’s summer pop-up series.
(Laurie Ochoa / Los Angeles Times)
When I first started going to Italy for summer vacations with my late husband, Jonathan Gold, and the extended friends and family of chef Nancy Silverton, we’d get to know different areas of Umbria and Tuscany through festas or sagras, local gatherings centered around a specific regional dish or ingredient — maybe cinghiale (wild boar), porcini mushrooms, summer truffles or various pastas such as strozzapreti (which is being celebrated this week in the Umbrian town of Paciano). These are kid-friendly, come-as-you-are parties, typically on a soccer field or town square with long tables, local wine poured into plastic cups and food often served by volunteer cooks pitching in to help raise money for a good cause.
Until recently, the closest I’d come to experiencing that sagra spirit in Los Angeles was the run of summer movie nights that Leo Bulgarini used to host outside his Altadena gelateria and restaurant Bulgarini Gelato Vino Cucina. He and his crew piled plates with pasta and salad before sunset signaled the start of the movie, often an Italian comedy or melodrama, projected onto an outdoor wall or a large, jerry-rigged screen. People would bring their kids and dogs, meet up with neighbors and settle into camping chairs or benches with their wine or cups of gelato once the movie began.
Bulgarini’s restaurant, which escaped the flames of the Eaton fire in January, has yet to reopen because of smoke damage and the loss of so much of the neighborhood around his shop — not to mention the fact that he, his wife and their son lost their home in the blaze.
But two other Altadena business owners have joined forces with local restaurants to create one of the most welcoming neighborhood gatherings with the soul of an Italian sagra.
As senior food editor Danielle Dorsey wrote in the guide she and Stephanie Breijo put together on the 21 best new bars in Los Angeles, a summer pop-up series has emerged outside Good Neighbor, “the first cocktail bar to open in Altadena in 40 years,” and West Altadena Wine + Spirits, both opened last year by Randy Clement and April Langford, the couple behind Everson Royce Bar in the Arts District, Silverlake Wine and the former Pasadena wine shop Everson Royce.
On Tuesday nights, Brisa Lopez Salazar’s Casa pop-up serves tacos with a different handmade tortilla each week — maybe white heirloom corn with beet juice or masa infused with turmeric or activated charcoal. On Thursdays, Triple Beam Pizza shows up; Fridays there are oysters, poke bowls and lobster rolls from Shucks Oyster Co.; Saturdays you can get smash burgers from For the Win and, new to the line-up, Altadena’s recently reopened Miya Thai restaurant is serving on Sundays.
Triple Beam’s heirloom tomato pizza served at the summer outdoor pop-up series hosted by Good Neighbor Bar and West Altadena Wine + Spirits.
(Laurie Ochoa / Los Angeles Times)
Two weeks ago, an Instagram post from Triple Beam about its newest heirloom tomato pizza drew me to the outdoor space just outside the Altadena burn zone. I found the patio packed, sagra-style, with groups of families and friends from the neighborhood and beyond. Kids chased each other in and around a wood-chip-bedded play area fitted with reclaimed tree stumps; more freshly sawed stumps were repurposed as stools and tables around the outdoor space. Dogs sat on laps or at customers’ feet. A roving Good Neighbor barkeep took cocktail orders at the picnic tables. And on the side of the building, at a takeout-style window, a West Altadena Wine merchant was selling glasses and flights of wine.
Almost as soon as I arrived, I reconnected with a friend I hadn’t seen in years as well as a family from my daughter’s old high school. The San Gabriel mountains in the near distance turned pink and purple during sunset, framed by a U-Haul sign as we ate our pizza, which arrived with all colors and shapes of tomato. With it, we sipped Sébastien Bobinet and Émeline Calvez’s Piak blanc de noir from clear plastic cups. It was a perfect summer evening, made poignant with a stop on the way out at the wall-sized map created by Highland Park production designer Noel McCarthy marking the more than 9,000 homes and businesses destroyed or damaged in the fire, and the places where people died. The map, as writer Marah Eakin reported in April, has helped people visualize the shocking extent of the fire’s devastation, even as Good Neighbor’s summer gatherings have brought people together, a reminder of why so many want to rebuild this community.
The map Noel McCarthy made displaying the extent of damage in Altadena from the Eaton fire. It is installed outside the parking lot and patio area of the Good Neighbor Bar and West Altadena Wine + Spirits.
(Marcus Ubungen / For The Times)
Japanese food ‘made the Japanese way’
The D-Combo at Fukagawa in Gardena.
(Rob Gauthier / Los Angeles Times)
Food’s summer intern Lauren Ng is headed back to school soon, but before she left to resume her studies at New York University, the Torrance native finished a project examining the “time capsule” nature of Japanese food in the South Bay. The area is “home to the biggest suburban Japanese community in the United States,” thanks in no small part to three of Japan’s biggest automakers — Toyota, Honda and Nissan — establishing their U.S. headquarters in the region during the 1960s. The car companies are now gone, but many of the restaurants remain, with a new generation of South Bay places opened in recent years. Ng visited many of them and wrote a guide to 18 of the best Japanese restaurants and food producers in the South Bay.
A loss for Chinatown
Yue Wa Market owner Amy Tran holds up dragon fruit and cherimoya at her Chinatown market in 2019.
(Allen J. Schaben / Los Angeles Times)
In 2019, when former Times columnist Frank Shyong reported on the changes in Chinatown that contributed to the closure of Ai Hoa Market and G and G Market, he wrote that one of the few places left to buy affordable fruits and vegetables in the neighborhood was Amy Tran’s Yue Wa Market. Now, as columnist Jenn Harris wrote this week, Tran and her family will close Yue Wa next month after 18 years serving Chinatown. A spate of robberies, slow pandemic recovery, ICE raids and the forces of gentrification contributed to the family’s decision.
“I don’t feel ready to let go of the store, but there’s not much I can do to bring more people in,” Tran told Harris. “Business was booming and a lot of people used to come around, but now there is no foot traffic and a lot of people have moved away from Chinatown.”
More downtown losses: It was only a couple of weeks ago that I was at downtown L.A.’s Tokyo Fried Chicken, where, I must admit, the dining room was sparsely populated but four-wheeled robot carts were kept busy with takeout deliveries. Yet as Karla Marie Sanford reported this week, after owners Elaine and Kouji Yamanashi announced they were closing the restaurant Aug. 10, customers suddenly showed up and waited in an hours-long line for one last chance to eat the chicken known for its super-crisp skin and soy sauce-ginger marinade. It was a brief return to the restaurant’s days in its original Monterey Park location where lines for a table were constant.
The downtown location had the bad luck to open just before the pandemic and never had a chance to reach its full potential. Elaine Yamanashi told Sanford that she and her chef husband hope at some point to find a new location for Tokyo Fried Chicken. “We’re taking this time, not off,” she said, “but to reflect.”
Angel City Brewery.
(Sam Samders)
Meanwhile, Angel City Brewery, founded in 1997 by Michael Bowe then acquired in 2012 by Boston Beer — a year after the company established its downtown brewpub location notable for its distinctive neon signage that acted as a welcome to the Arts District — announced that it will close next April when the building’s lease is up.
“The brand no longer lines up with our long-term growth strategy,” said a Boston Beer spokesperson, adding that the company plans to focus on its “core national brands,” which include Samuel Adams.
And LA Cha Cha Chá in the Arts District, with its lush, tropical rooftop, is also set to close sometime this fall according to co-owner Alejandro Marín.
End of the Basque road
In addition to prime rib at the Glendora Continental, which is being put up for sale, French Basque dishes like slow-braised lamb in a Burgundy demi-glace, pickled tongue and escargots à la bourguignonne are on the menu, along with crab cakes and salads.
(Catherine Dzilenski / For The Times)
There wasn’t an empty seat at Glendora Continental when contributor Jean Trinh stopped into the 45-year-old restaurant on Route 66, “a reminder,” she writes, “of fading connections to the Basque diaspora in California.” Now that the owners have put the restaurant up for sale, its days are numbered so regular customers have been showing up for live music and the Continental’s “mix of Basque, French and American food,” including lamb shank, prime rib, pickled tongue and escargots à la bourguignonne. “I would say it’s Basque with a sprinkle of American,” co-owner Antoinette Sabarots told Trinh, “or vice versa.”
Yes, restaurants are still opening
Oy Bar chef-owner Jeff Strauss, left, with sous chef Esteban Palacios at Vey, the tandem outdoor bar.
(Stephanie Breijo / Los Angeles Times)
Despite all the closure news, as Stephanie Breijo reports, good restaurants keep opening in Los Angeles, including Baby Bistro from chef Miles Thompson and his sommelier business partner, Andy Schwartz. They call it an “Angeleno bistro,” with inspiration from Japanese, Korean, Italian, Mexican, French and more cuisines. “I think the food is really defined by the cultures of Los Angeles,” Thompson told Breijo. “If you already eat at any of the regional or international restaurants in this city, you’ll find inspiring foods that go into this menu.”
And chef Jeff Strauss, of the Highland Park deli Jeff’s Table and OyBar in Studio City, has set up a weekend-only six-course tasting menu spot called Vey in the back parking lot of OyBar. As Strauss described it to Breijo, he thinks of it as “a casual, rolling omakase.”
Another hidden spot is Evan Funke’s new Bar Avoja (slang for “hell yeah”), a Hollywood cocktail lounge accessed through the dining room of the chef’s Mother Wolf restaurant. In addition to drinks, Roman street food is on the menu. Meanwhile, the chef’s namesake Beverly Hills restaurant, Funke, is temporarily closed due to a fire in the kitchen’s exhaust system on Tuesday. As Breijo reported, no one was hurt and there was minimal damage.
Also, Hong Kong’s Hi Bake chain has opened a pet-friendly branch in Beverly Hills serving “banana rolls, thousand-layer cakes, meat floss rolls and egg tarts. And San Francisco’s Boichik Bagels, which opened in Los Feliz earlier this year, is now serving at downtown L.A.’s landmark Bradbury Building.
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Burlesque and red Solo cups
Uncle Ollie’s Penthouse owner Brian Houck in the “backvan” at his downtown Los Angeles bar.
(Roger Kisby / For The Times)
Former L.A. Weekly nightlife columnist and Los Angeles magazine editor Lena Lecaro writes about Uncle Ollie’s Penthouse, a new downtown L.A. bar with “wild, color-saturated decor, potent cocktails served in red Solo cups and a soundtrack that inspires stomping the floor with pals or singing along with strangers.”
”I can’t remember the last time I felt so connected to my hometown as an L.A. native,” musician Taleen Kali told Lecaro. “I also love that you get to keep your own party cup all night — it’s a total vibe, plus it’s less wasteful and more sustainable.”
Noodles easier to make than you think
Mei Lin, chef and proprietor of 88 Club chef in Beverly Hills, right, makes mung bean noodles in the Times Test Kitchen. Left, the finished spicy mung bean noodles.
(Mark Potts / Los Angeles Times)
When Mei Lin, chef and proprietor of 88 Club in Beverly Hills and former “Top Chef” and “Tournament of Champions” winner, demonstrated her spicy mung bean noodle recipe in the Times Test Kitchen for our “Chef That!” video series, we all wanted to try making the noodles. It’s a lot easier and fun to do than most of us thought. You start with a startchy base that thickens into jelly in a bowl. After you unmold the gelatinous blob, you scrape a grater over the mound, forming the noodles. Then it’s just a matter of seasoning the noodles with chile, peanuts and herbs.
Mark the dates
The Times’ Food Bowl Night Market, this year presented by Square, is taking place Oct. 10 and 11 at City Market Social House downtown. Among the participating restaurants announced so far are Holbox, Baroo, the Brothers Sushi, OyBar,Heritage Barbecue, Crudo e Nudo, Hummingbird Ceviche House, Rossoblu, Perilla LA, Evil Cooks and Holy Basil. VIP tickets that allow early entry always go fast. Check lafoodbowl.com for tickets and info.
And at this year’s LA Chef Conference on Oct. 6, an all-day event taking place at Redbird and Vibiana in downtown L.A., I’ll be on a panel with Roy Choi, Nancy Silverton, Ludo Lefebvre and Evan Kleiman talking about the legacy of Jonathan Gold. Find information on tickets and other events at the conference here.
Also …
(Los Angeles Times photo illustration; Photo by Nick Agro/For The Times)
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Fifty years ago, L.A. free-jazz titan Bobby Bradford moved into a rambling, verdant house in Altadena. The cornet and trumpet virtuoso, who performed in Ornette Coleman’s band and taught jazz history at Pomona College and Pasadena City College for decades, chose the neighborhood partly because it was bustling with artists. He finally had enough bedrooms for his young family to thrive in a bucolic corner of the city with deep Black roots.
In January, Bradford’s house burned down in the Eaton fire, alongside thousands of others in his cherished Altadena. At 91, he never imagined starting his life over again in tiny rented apartments, with decades of memories in cinders.
Despite it all, he’s still playing music. (He said that while he did not receive grants from major organizations such as MusiCares or Sweet Relief, a GoFundMe and others efforts by fellow musicians helped him replace his cherished horn.)
At the Hammer Museum on Thursday, he’ll revisit “Stealin’ Home,” a 2019 suite of original compositions inspired by his lifelong hero — the baseball legend and Dodgers’ color-line-breaker Jackie Robinson, a man who knew about persevering through sudden, unrelenting adversity.
“That’s all I have left,” Bradford said, pulling his horn out of its case to practice for the afternoon. “I’m [91] years old. I don’t have years to wait around to rebuild.”
For now, Bradford lives a small back house on a quiet Pasadena residential street. It’s his and his wife’s fifth temporary residence since the Eaton fire, and they’ve done their best to make it a home. Bradford hung up vintage posters from old European jazz festivals and corralled enough equipment together to peaceably write music in the garage.
Still, he misses his home in Altadena — both the physical neighborhood where he’d run into friends at the post office and the dream of Altadena, where working artists and multigenerational families could live next to nature at the edge of Los Angeles.
“We knew who all the musicians were. Even if we didn’t spent much time all together, it did feel like one big community,” Bradford said. “We knew players for the L.A. Phil, painters, dancers.”
L.A.-based jazz composer/musician Bobby Bradford plays the cornet while rehearsing his original composition in his Altadena home in 2019.
(Gina Ferazzi / Los Angeles Times)
These days, there’s a weariness in his eyes and gait, understandable after such a profound disruption in the twilight of his life. He’s grateful that smaller local institutions have stepped up to provide places for him to practice his craft, even as insurance companies dragged him through a morass. “The company said they won’t insure me again because because I filed a claim on my house,” he said, bewildered. “How is that my fault?”
But he draws resilience from his recent music, which evokes the gigantic accomplishments and withering abuse Robinson faced as the first Black player in Major League Baseball. As a child in 1947, Bradford remembers listening to the moment Robinson took the field, and while he has always admired the feat, his understanding of Robinson has evolved with age.
“It was such a revelation to me as a kid, but later I was more interested in who the person was that would agree to be the sacrificial lamb,” Bradford said. “How do you turn that into flesh-and-blood music? I began to think about him being called up, with a kind of call-and-response in the music.”
The challenge Bradford gave himself — evoking Robinson’s grace on the field and fears off it — caps a long career of adapting his art form to reflect and challenge the culture around him.
With Coleman’s band in the ’50s and ’60s, and on his own formidable catalog as a bandleader, he helped pioneer free jazz, a style that subverted the studied cool of bebop with blasts of atonality and mercurial song structures. He played on Coleman’s 1972 LP “Science Fiction,” alongside Indian vocalist Asha Puthli. “Ornette played with so much raw feeling,” Bradford said. “He showed me how the same note could be completely different if you played it in a different chord. I had to learn that to play his songs.” His longstanding collaboration with clarinetist John Carter set the template for post-bop in L.A., charged with possibility but lyrical and yearning.
American jazz trumpeter Bobby Bradford performs onstage circa 1980.
(David Redfern / Redferns)
He’s equally proud of his decades in academia, introducing young students to centuries of the Black American music that culminated in jazz, and the new ways of being that emerged from it. At both Pomona College and Pasadena City College (where Robinson attended and honed his athletic prowess), Bradford helped his students inhabit the double consciousness required of Black artists to survive, invent and advance their art forms in America — from slavery’s field songs to Southern sacred music, to Louis Armstrong, Charlie Parker, Sarah Vaughan and into the wilds of modernity.
“You always had that one kid who thinks he knows more about this than I do,” he said with a laugh. “But then you make him understand that to get to this new Black identity, you have to understand what Louis Armstrong had to overcome, how he had to perform in certain ways in front of white people, so he could create this music.”
He’s been rehearsing with a mix of older and younger local musicians at Healing Force of the Universe, a beloved Pasadena record store and venue that reminds him of the makeshift jazz club he owned near Pasadena’s Ice House in the ’70s.
Places like that are on edge in L.A. these days. Local clubs such as ETA and the Blue Whale (where Bradford recorded a live album in 2018) have closed or faced hard times postpandemic. Others, like the new Blue Note in Hollywood, have big aspirations. He’s hopeful L.A. jazz — ever an improvisational art form — will survive and thrive even after the loss of a neighborhood like Altadena displaced so many artists. “I remember someone coming into our club in the ’70s and saying he hated the music we were playing. I asked him what he didn’t like about it, and he said, ‘Well, everything.’ I told him, ‘Maybe this isn’t the place for you then,’” Bradford laughed. “You can’t live in Los Angeles without that spirit. There are always going to be new places to play.”
Bobby Bradford rehearses in Pasadena.
(Michael Rowe / For The Times)
He’s worried about the country, though, as many once-settled questions about who belongs in America are called into doubt under the current president. January’s wildfires proved to him, very intimately, that the most fixed points in one’s life and community are vulnerable.
Even Jackie Robinson, whose feats seemed an indisputable point of pride for all Americans, had his military career temporarily scrubbed from government websites in a recent purge against allegedly “woke” history.
“I thought we had rowed ourselves across the River Jordan,” Bradford said, shaking his head. “But now we’re back on the other side again. We thought we had arrived.”
Who knows how many years of performing Bradford has left. But as the sound of his melancholy horn arced through a sweltering Pasadena afternoon, one couldn’t help but be grateful to still have him here playing, even after losing everything.
“You know, in his first game, in three times at bat, Jackie Robinson didn’t get a hit,” he said. “Folks said, ‘Oh, it’s so sad. We told you he couldn’t play on a professional level.’ But when you dig into it, you discover that he didn’t get a hit at the game, but he laid down a sacrifice to score the winning run.”
Joyce Birdwell survived the North Complex fire in 2020, though it devoured her home, and a life she loved, in the mountain town of Berry Creek.
Her partner, Art Linfoot, built the house they lost, a cabin with a wraparound porch and a year-round brook where deer drank and the sound of the water lulled the couple to sleep. Birdwell fired up her chain saw nearly every morning, she told me, aware that keeping the brush at bay was crucial for safety.
Los Angeles knows how to weather a crisis — or two or three. Angelenos are tapping into that resilience, striving to build a city for everyone.
But the fire that came through their Butte County home didn’t care about her trimmed trees, or her hard work or our persistent belief that everything will somehow be OK after a disaster. Birdwell, 69, and Linfoot, 80, are in Irvine now, with no intention of returning, or rebuilding.
Berry Creek Elementary School burned to the ground in the North Complex fire in 2020.
(Carolyn Cole / Los Angeles Times)
“I never thought twice about it as soon as we went back there and saw what was left,” she told me. “I know how long it takes for a tree to grow, and I just knew this would never, never work out for us.”
Hers is a bit of wisdom that is too often lost in our conversations about urban fire: Sometimes, recovery is not rebuilding. Politicians won’t admit it, but the ethos of #strong — measuring success with how quickly we can raise up houses on scorched earth — is snake oil, an emotional rallying cry that often delivers little more than a slippery bit of comfort that benefits the rich more than the rest. Because even rebuilding the most beloved of homes at the fastest of paces will not restore lives or communities to what they were. Or what they need to be. And by focusing on this powerful but narrow idea of recovery, we do a disservice to individual survivors and our collective good.
We need to change our understanding of what recovery is, because we live in an era when the climate crisis has created not just survivors, but refugees and migrants in California and the United States — and they deserve more than a slogan that, to steal a favorite phrase from our governor, does not “meet the moment.”
As we hurl forward to rebuild after January’s fires in the Palisades and Altadena — and all the disasters yet to come — it’s time to acknowledge that recovery and rebuilding, for all our talk, is never fair. There is a bias toward the rich embedded in the process. And for every recovery that we allow to be unfair under the guise of #strong, we march deeper to a California where the elite live in comfort and the rest live in fear — a rightful anxiety that everything we have is tenuous, given and taken as afterthoughts in a tug-of-war between Mother Nature and the wealthy.
‘Conspicuous resilience’
The idea that fire recovery is fair has always been a scam. In his infamous 1998 essay, “The Case for Letting Malibu Burn,” the much-revered and equally despised environmental activist and historian Mike Davis wrote that the “flatland majority” has always been paying “the ever increasing expense of maintaining and, when necessary, rebuilding sloping suburbia,” those rarefied neighborhoods that consider themselves part of Los Angeles proper only when they need something from the rest of us.
If that was true at the turn of the millennium, it’s even more so now.
A 75-year history of fires in the Santa Monica Mountains
1950-1959
1960-1969
1970-1979
1980-1989
1990-1999
2000-2009
2010-2019
2020-2025
California Department of Forestry and Fire Protection
Sean Greene LOS ANGELES TIMES
When Davis wrote his controversial piece, he also noted that “late August to early October is the infernal season in Los Angeles.” More than three decades later, climate change has intensified our weather so much that floods and fires haunt almost every month of the California calendar, eclipsing the chthonic terrors of earthquakes that rattle us only now and then.
Summer Gray, an associate professor at UC Santa Barbara who studies the inequities in our responses to climate change, says disaster recovery can be “highly performative, often driven by more privileged members of the community” who have the money and clout that allow them to suck up resources. She saw this firsthand by examining recovery after the debris flows in Montecito in the wake of the 2017 Thomas fire.
Though talk in the ultra-wealthy enclave was all about community recovery, Gray concluded — through interviewing community members — that those with the ability to speak loudest and earliest often received more help, and set the agenda for what recovery included, and didn’t. She found that “narratives of resilience were actually obscuring systemic inequalities.”
Gray warns that sometimes, whether consciously or not, these privileged groups leverage “the optics of this collective recovery to accelerate their own rebuilding,” leaving working-class survivors “sidelined or ignored.” Gray calls this attitude part of “conspicuous resilience,” conflating being temporarily displaced and inconvenienced with being oppressed and vulnerable, leading to the celebration and glorification of a recovery that mostly benefits the few.
“I am not saying that our billionaire class has bad intent,” Gray said. But the elite, “don’t really understand what the needs are.”
My colleague Liam Dillon reported not long ago that before the fire, “the average home in Pacific Palisades cost $3.5 million, the median household earned $325,000 and the total number of rental units restricted as affordable housing was two.”
Two.
When Dillon asked former mayoral candidate and developer Rick Caruso, whose super-high-end mall is an anchor of Palisades commerce, if that should be expanded at this unique moment when everything must be rebuilt anyway, Caruso told him, “Now is not the time for outside groups with no ties to the area to slow down the ability of people to rebuild their homes by trying to impose their agenda.”
Two people ride past a burning house off Enchanted Way in the Marquez Knolls neighborhood of Pacific Palisades in January.
(Wally Skalij / Los Angeles Times)
No ties to the area except our tax dollars, of course, and our erstwhile equality as Angelenos and Californians.
Mayor Karen Bass’ now-ousted recovery czar, developer Steve Soboroff, who supported more affordable housing, put the mood more succinctly.
“We’re not rethinking,” Soboroff said. “We’re rebuilding.”
But if now is not the time to rethink, when is?
The climate crisis is costly, whipping up more and more disasters each year. When Davis wrote his book, there were about six natural disasters in the U.S. every year where the costs of recovery exceeded a billion dollars. Last year, there were 27. This year, we stopped counting, as part of government cost cutting, but that has not stopped floods, fires and heat waves.
Even if the federal government, largely through our taxes, was able to pick up the tab for every tornado, hurricane and wildfire, our current administration has made it clear it does not want to. The Federal Emergency Management Agency has been gutted, and may hand off many of its former duties to states, including California, that even if prosperous, lack the money to cover those costs.
Add to that the financial precariousness of tariffs that are making building more expensive, immigration policies that are decimating our construction workforce and insurance costs that are skyrocketing, if you can get a policy, and the prospect of the poor and middle class recovering from fire as quickly as the rich seems naive at best.
Fixes for the future
There are three actions we can take that have the potential to keep California from further devolving into climate rich and poor, housing winner and housing loser.
First, we need to end the fixation on speed.
“If it’s speed without a plan, it means you’re more likely to return to the status quo,” Laurie A. Johnson told me. She’s an urban planner who specializes in disaster recovery and a member of the Blue Ribbon Commission on Climate Action and Fire Safe Recovery convened by L.A. County Supervisor Lindsey Horvath.
Johnson views a focus on speed as “an empowerment of those who have everything they need, or who can easily get it.”
Volunteer archaeologists Elyse Mallonee, left, and Parker Sheriff carefully sift through rubble and ash while looking for cremated remains at a house in Altadena on Feb. 18.
(Myung J. Chun / Los Angeles Times)
Why don’t we acknowledge that fire destroys more than owner-occupied houses and give equal weight to graduation rates for affected students or the number of renters successfully relocated to safe apartments? What about measuring success around health outcomes for those with asthma or heart conditions exposed to the smoke, or count the number of people who feel their mental health needs have been met or their jobs stabilized?
Certainly home ownership is emotionally and financially important, especially in unique places such as Altadena where a Black middle class found refuge and economic security. But home ownership — and by extension rebuilding — is predominantly a measure of an upper-class recovery, especially in L.A. County, where less than half of the people own the place where they live.
It’s time to slow down, and, yes, rethink.
The second action that will help us reform how we handle disaster is even more difficult: Openly talk about who gets to recover with public money (which repaves roads and fixes water systems and sewers, for example) and who gets to decide who recovers with public money.
Returning to Davis’ point all those years ago, do we continue to rebuild in places that we know, for certain, will experience fire again? What do we owe places such as Malibu, where housing values have increased significantly with each post-fire rebuilding and which have made their elitism part of their identity? What do we owe places such as Altadena, if we allow homeowners with modest means to rebuild without robustly mitigating risk of a future fire?
Maybe not every place should be rebuilt. Maybe in some places, it’s time to let Mother Nature win, or at least create buffers so that she doesn’t have the upper hand.
Our better natures want to help everyone who faces loss, rich or poor. The idea that we would tell a community that they cannot have the money to restore themselves sounds like a political and moral absurdity. But it is increasingly likely that there simply will not be enough money in the future to rebuild everything.
It is absolutely time to impose a recovery “agenda” that takes into account the realities of climate change and our housing crisis and seeks to create communities that are safe and in service of our collective needs. Anything less ignores the reality of the majority, and nearly ensures that these places will return more gentrified, wealthier and even more exclusive, the exact opposite of what public dollars should support.
The Tahitian Terrace mobile home park, destroyed by the Palisades fire, is seen along Pacific Coast Highway in Malibu on Jan. 10.
(Zoe Meyers / AFP via Getty Images)
The last action we need to take to better face a difficult future is to expand what recovery means. It is not always rebuilding. More often than we like to acknowledge, it means moving on. But currently, few of our resources or even our conversations include help for those who don’t want to stick around. In fact, they’re often scorned or simply forgotten.
The Palisades fire wiped out 600 homes in Malibu, 5,500 overall. The Eaton fire destroyed more than 9,000 homes and buildings. Almost certainly, something will be built on all of those lots. Developers are already snapping some of them up. But almost as certain, many of the people who once lived in these places will not return — and probably shouldn’t.
Age, finances, health — there are myriad reasons why spending five to 10 years rebuilding a lost home is not the right decision. Recovery needs to support other options with government money, including moving elsewhere, without shame and without the pressure of the elite-driven #strong ethos that forces us to believe recovery looks like the past.
California’s best example of what this could include is the ReCoverCA Homebuyer Assistance (HBA) Program. This program gave financial assistance of up to $350,000 per household through a forgivable second mortgage loan to low- and middle-income folks, mainly renters, displaced by past fires — basically helping to buy houses for economically-challenged survivors.
The catch? The new home had to be outside a high-risk fire zone. That’s a win for displaced people, for the climate, and for encouraging safe housing and wealth building for the future. But the state is not currently funding the program for fire survivors, though some impacted by floods have a shot.
None of this is to argue that rebuilding is wrong, or that losing a home is undeserving of sympathy or help. It is. But there is so much more to survivors, and recovery, than a house.
Birdwell, who lost her home in Berry Creek, still thinks of that cabin as a “slice of heaven” and reminiscences “about how life used to be.” But she is left with anxiety — a remnant of the fire for which no one has offered her help — and a sense of dislocation and discontent. A few nights ago, she dreamed fire was coming at her again.
“I woke up, my heart was beating out of my chest,” she said. “That might be something that will happen the rest of my life.”
In the next 30 years, we will assuredly have more climate refugees, more climate migrants, like Birdwell and Linfoot and the thousands of Angelenos still reeling from our recent fires. We can plan for that now if we choose to, leave behind the gratifying but false camaraderie of #strong and instead broaden our response to ensuring everyone who survives climate tragedy has options and equity.
If we don’t, we will simply move further into a future that bends recovery to benefit the wealthy, as Davis predicted long ago — prioritizing the rebuilding of hazardous communities again and again until the only people who can afford to live in them are the people who can afford to watch them burn.
Joyce Birdwell survived the North Complex fire in 2020, though it devoured her home, and a life she loved, in the mountain town of Berry Creek.
Her partner, Art Linfoot, built the house they lost, a cabin with a wraparound porch and a year-round brook where deer drank and the sound of the water lulled the couple to sleep. Birdwell fired up her chain saw nearly every morning, she told me, aware that keeping the brush at bay was crucial for safety.
Los Angeles knows how to weather a crisis — or two or three. Angelenos are tapping into that resilience, striving to build a city for everyone.
But the fire that came through their Butte County home didn’t care about her trimmed trees, or her hard work or our persistent belief that everything will somehow be OK after a disaster. Birdwell, 69, and Linfoot, 80, are in Irvine now, with no intention of returning, or rebuilding.
Berry Creek Elementary School burned to the ground in the North Complex fire in 2020.
(Carolyn Cole / Los Angeles Times)
“I never thought twice about it as soon as we went back there and saw what was left,” she told me. “I know how long it takes for a tree to grow, and I just knew this would never, never work out for us.”
Hers is a bit of wisdom that is too often lost in our conversations about urban fire: Sometimes, recovery is not rebuilding. Politicians won’t admit it, but the ethos of #strong — measuring success with how quickly we can raise up houses on scorched earth — is snake oil, an emotional rallying cry that often delivers little more than a slippery bit of comfort that benefits the rich more than the rest. Because even rebuilding the most beloved of homes at the fastest of paces will not restore lives or communities to what they were. Or what they need to be. And by focusing on this powerful but narrow idea of recovery, we do a disservice to individual survivors and our collective good.
We need to change our understanding of what recovery is, because we live in an era when the climate crisis has created not just survivors, but refugees and migrants in California and the United States — and they deserve more than a slogan that, to steal a favorite phrase from our governor, does not “meet the moment.”
As we hurl forward to rebuild after January’s fires in the Palisades and Altadena — and all the disasters yet to come — it’s time to acknowledge that recovery and rebuilding, for all our talk, is never fair. There is a bias toward the rich embedded in the process. And for every recovery that we allow to be unfair under the guise of #strong, we march deeper to a California where the elite live in comfort and the rest live in fear — a rightful anxiety that everything we have is tenuous, given and taken as afterthoughts in a tug-of-war between Mother Nature and the wealthy.
‘Conspicuous resilience’
The idea that fire recovery is fair has always been a scam. In his infamous 1998 essay, “The Case for Letting Malibu Burn,” the much-revered and equally despised environmental activist and historian Mike Davis wrote that the “flatland majority” has always been paying “the ever increasing expense of maintaining and, when necessary, rebuilding sloping suburbia,” those rarefied neighborhoods that consider themselves part of Los Angeles proper only when they need something from the rest of us.
If that was true at the turn of the millennium, it’s even more so now.
A 75-year history of fires in the Santa Monica Mountains
1950-1959
1960-1969
1970-1979
1980-1989
1990-1999
2000-2009
2010-2019
2020-2025
California Department of Forestry and Fire Protection
Sean Greene LOS ANGELES TIMES
When Davis wrote his controversial piece, he also noted that “late August to early October is the infernal season in Los Angeles.” More than three decades later, climate change has intensified our weather so much that floods and fires haunt almost every month of the California calendar, eclipsing the chthonic terrors of earthquakes that rattle us only now and then.
Summer Gray, an associate professor at UC Santa Barbara who studies the inequities in our responses to climate change, says disaster recovery can be “highly performative, often driven by more privileged members of the community” who have the money and clout that allow them to suck up resources. She saw this firsthand by examining recovery after the debris flows in Montecito in the wake of the 2017 Thomas fire.
Though talk in the ultra-wealthy enclave was all about community recovery, Gray concluded — through interviewing community members — that those with the ability to speak loudest and earliest often received more help, and set the agenda for what recovery included, and didn’t. She found that “narratives of resilience were actually obscuring systemic inequalities.”
Gray warns that sometimes, whether consciously or not, these privileged groups leverage “the optics of this collective recovery to accelerate their own rebuilding,” leaving working-class survivors “sidelined or ignored.” Gray calls this attitude part of “conspicuous resilience,” conflating being temporarily displaced and inconvenienced with being oppressed and vulnerable, leading to the celebration and glorification of a recovery that mostly benefits the few.
“I am not saying that our billionaire class has bad intent,” Gray said. But the elite, “don’t really understand what the needs are.”
My colleague Liam Dillon reported not long ago that before the fire, “the average home in Pacific Palisades cost $3.5 million, the median household earned $325,000 and the total number of rental units restricted as affordable housing was two.”
Two.
When Dillon asked former mayoral candidate and developer Rick Caruso, whose super-high-end mall is an anchor of Palisades commerce, if that should be expanded at this unique moment when everything must be rebuilt anyway, Caruso told him, “Now is not the time for outside groups with no ties to the area to slow down the ability of people to rebuild their homes by trying to impose their agenda.”
Two people ride past a burning house off Enchanted Way in the Marquez Knolls neighborhood of Pacific Palisades in January.
(Wally Skalij / Los Angeles Times)
No ties to the area except our tax dollars, of course, and our erstwhile equality as Angelenos and Californians.
Mayor Karen Bass’ now-ousted recovery czar, developer Steve Soboroff, who supported more affordable housing, put the mood more succinctly.
“We’re not rethinking,” Soboroff said. “We’re rebuilding.”
But if now is not the time to rethink, when is?
The climate crisis is costly, whipping up more and more disasters each year. When Davis wrote his book, there were about six natural disasters in the U.S. every year where the costs of recovery exceeded a billion dollars. Last year, there were 27. This year, we stopped counting, as part of government cost cutting, but that has not stopped floods, fires and heat waves.
Even if the federal government, largely through our taxes, was able to pick up the tab for every tornado, hurricane and wildfire, our current administration has made it clear it does not want to. The Federal Emergency Management Agency has been gutted, and may hand off many of its former duties to states, including California, that even if prosperous, lack the money to cover those costs.
Add to that the financial precariousness of tariffs that are making building more expensive, immigration policies that are decimating our construction workforce and insurance costs that are skyrocketing, if you can get a policy, and the prospect of the poor and middle class recovering from fire as quickly as the rich seems naive at best.
Fixes for the future
There are three actions we can take that have the potential to keep California from further devolving into climate rich and poor, housing winner and housing loser.
First, we need to end the fixation on speed.
“If it’s speed without a plan, it means you’re more likely to return to the status quo,” Laurie A. Johnson told me. She’s an urban planner who specializes in disaster recovery and a member of the Blue Ribbon Commission on Climate Action and Fire Safe Recovery convened by L.A. County Supervisor Lindsey Horvath.
Johnson views a focus on speed as “an empowerment of those who have everything they need, or who can easily get it.”
Volunteer archaeologists Elyse Mallonee, left, and Parker Sheriff carefully sift through rubble and ash while looking for cremated remains at a house in Altadena on Feb. 18.
(Myung J. Chun / Los Angeles Times)
Why don’t we acknowledge that fire destroys more than owner-occupied houses and give equal weight to graduation rates for affected students or the number of renters successfully relocated to safe apartments? What about measuring success around health outcomes for those with asthma or heart conditions exposed to the smoke, or count the number of people who feel their mental health needs have been met or their jobs stabilized?
Certainly home ownership is emotionally and financially important, especially in unique places such as Altadena where a Black middle class found refuge and economic security. But home ownership — and by extension rebuilding — is predominantly a measure of an upper-class recovery, especially in L.A. County, where less than half of the people own the place where they live.
It’s time to slow down, and, yes, rethink.
The second action that will help us reform how we handle disaster is even more difficult: Openly talk about who gets to recover with public money (which repaves roads and fixes water systems and sewers, for example) and who gets to decide who recovers with public money.
Returning to Davis’ point all those years ago, do we continue to rebuild in places that we know, for certain, will experience fire again? What do we owe places such as Malibu, where housing values have increased significantly with each post-fire rebuilding and which have made their elitism part of their identity? What do we owe places such as Altadena, if we allow homeowners with modest means to rebuild without robustly mitigating risk of a future fire?
Maybe not every place should be rebuilt. Maybe in some places, it’s time to let Mother Nature win, or at least create buffers so that she doesn’t have the upper hand.
Our better natures want to help everyone who faces loss, rich or poor. The idea that we would tell a community that they cannot have the money to restore themselves sounds like a political and moral absurdity. But it is increasingly likely that there simply will not be enough money in the future to rebuild everything.
It is absolutely time to impose a recovery “agenda” that takes into account the realities of climate change and our housing crisis and seeks to create communities that are safe and in service of our collective needs. Anything less ignores the reality of the majority, and nearly ensures that these places will return more gentrified, wealthier and even more exclusive, the exact opposite of what public dollars should support.
The Tahitian Terrace mobile home park, destroyed by the Palisades fire, is seen along Pacific Coast Highway in Malibu on Jan. 10.
(Zoe Meyers / AFP via Getty Images)
The last action we need to take to better face a difficult future is to expand what recovery means. It is not always rebuilding. More often than we like to acknowledge, it means moving on. But currently, few of our resources or even our conversations include help for those who don’t want to stick around. In fact, they’re often scorned or simply forgotten.
The Palisades fire wiped out 600 homes in Malibu, 5,500 overall. The Eaton fire destroyed more than 9,000 homes and buildings. Almost certainly, something will be built on all of those lots. Developers are already snapping some of them up. But almost as certain, many of the people who once lived in these places will not return — and probably shouldn’t.
Age, finances, health — there are myriad reasons why spending five to 10 years rebuilding a lost home is not the right decision. Recovery needs to support other options with government money, including moving elsewhere, without shame and without the pressure of the elite-driven #strong ethos that forces us to believe recovery looks like the past.
California’s best example of what this could include is the ReCoverCA Homebuyer Assistance (HBA) Program. This program gave financial assistance of up to $350,000 per household through a forgivable second mortgage loan to low- and middle-income folks, mainly renters, displaced by past fires — basically helping to buy houses for economically-challenged survivors.
The catch? The new home had to be outside a high-risk fire zone. That’s a win for displaced people, for the climate, and for encouraging safe housing and wealth building for the future. But the state is not currently funding the program for fire survivors, though some impacted by floods have a shot.
None of this is to argue that rebuilding is wrong, or that losing a home is undeserving of sympathy or help. It is. But there is so much more to survivors, and recovery, than a house.
Birdwell, who lost her home in Berry Creek, still thinks of that cabin as a “slice of heaven” and reminiscences “about how life used to be.” But she is left with anxiety — a remnant of the fire for which no one has offered her help — and a sense of dislocation and discontent. A few nights ago, she dreamed fire was coming at her again.
“I woke up, my heart was beating out of my chest,” she said. “That might be something that will happen the rest of my life.”
In the next 30 years, we will assuredly have more climate refugees, more climate migrants, like Birdwell and Linfoot and the thousands of Angelenos still reeling from our recent fires. We can plan for that now if we choose to, leave behind the gratifying but false camaraderie of #strong and instead broaden our response to ensuring everyone who survives climate tragedy has options and equity.
If we don’t, we will simply move further into a future that bends recovery to benefit the wealthy, as Davis predicted long ago — prioritizing the rebuilding of hazardous communities again and again until the only people who can afford to live in them are the people who can afford to watch them burn.
Gov. Gavin Newsom plans to issue an executive order Wednesday allowing Los Angeles-area governments to limit development in wildfire-affected neighborhoods by exempting them from provisions of a landmark housing law, a spokesperson for his office said.
The proposed order would let the city and county of Los Angeles and Malibu restrict construction that was allowed under Senate Bill 9, a 2021 law that allows property owners build as many as four units on land previously reserved for single-family homes.
The order would apply to Pacific Palisades and parts of Malibu and Altadena — areas that burned in January’s Palisades and Eaton fires that are designated as “very high fire hazard severity zones” by the California Department of Forestry and Fire Protection, Newsom spokesperson Tara Gallegos said.
The decision came after concerns about the potential of a significant population increase if there were widespread use of SB 9 developments in rebuilding areas, making future fire evacuations even more difficult, Gallegos said.
The governor’s plan follows pressure this week from elected officials in Los Angeles. On Monday, City Councilmember Traci Park, who represents Pacific Palisades, sent a letter to Newsom requesting that he suspend SB 9, warning that otherwise there could be “an unforeseen explosion of density” in a risky area.
“When SB 9 was adopted into state law, it was never intended to capitalize on a horrific disaster,” Park wrote.
On Tuesday, L.A. Mayor Karen Bass released a statement supporting Park’s request, citing similar concerns about SB 9 straining evacuation routes and local infrastructure in the Palisades.
“It could fundamentally alter the safety of the area,” Bass said.
More than 800 homeowners in Pacific Palisades, Altadena and other areas affected by January’s wildfires have applied for rebuilding permits, according to a Times analysis of local government permitting data.
Of those, at least 145 have received approval to start construction on major repairs or replacement of their homes in the cities of Los Angeles, Malibu and Pasadena and in Altadena and other unincorporated areas of L.A. County, the analysis found.
At events this week commemorating the fires’ six-month mark, state and local leaders have celebrated the pace of cleanup efforts, touting their completion months ahead of schedule. Nearly 13,000 households were displaced by the Palisades and Eaton fires, which ripped through the communities Jan. 7 and 8.
“Now we turn the page to rebuilding, and we’re doing it with a clear plan, strong partnerships and the urgency this moment demands,” Gov. Gavin Newsom said in a statement.
Weekly data analyzed by The Times show an increasing pace of permit applications submitted to local authorities. Homeowners, architects and contractors working on approved projects praised the process as speedy and efficient. But some residents said that despite official promises of removing barriers and rapid turnarounds, they’ve been mired in delays.
At many sites, construction is already underway. Five years ago, while pregnant with her second child, Alexis Le Guier and her husband, Andrew, moved into a newly constructed five-bedroom home in the Palisades’ Alphabet Streets area. A lifelong Angeleno, Le Guier wanted to take advantage of the neighborhood‘s schools and walkability, as well as live closer to her parents in Brentwood. The day after the fire, they started making calls to rebuild their home.
“The thought of moving was unfathomable,” said Le Guier, 41. “Of course I’m coming back. I can’t imagine being anywhere else.”
The Le Guiers, who were underinsured, benefited from having recent architectural plans, which saved them significant time and money. They made minor changes before submitting them to the city and received their permit 40 days later in early June. Their foundation was poured last week and lumber was delivered to the site soon after.
“The thought of moving was unfathomable,” said Alexis Le Guier, 41. “Of course I’m coming back. I can’t imagine being anywhere else.”
(Jason Armond / Los Angeles Times)
Many of the homeowners who have secured permits similarly had recent plans to work from or other advantages, such as quick insurance payouts, according to several architects and contractors. State and local officials have attempted to streamline the permitting process, especially for those who want to build homes comparable to the ones destroyed, by waiving some development rules and fees and opening “one-stop” centers that centralize planning and building reviews.
Jason Somers, president of Crest Real Estate, a development firm, said the efforts have helped city plan checkers respond to applications with urgency.
“They are getting us permits quicker than we’ve ever seen before,” Somers said.
Somers’ firm is working on nearly 100 fire rebuilding projects, primarily in Pacific Palisades. Most of its clients, Somers said, aren’t ready to submit plans because they’re designing custom homes different from what they had previously. Somers said the city’s response so far encouraged him, but the test would come as the volume of applications increased.
“We shall see what the workflow looks like when we see 1,000 projects,” he said.
As of July 6, 389 homeowners had submitted applications to rebuild in the Palisades, roughly 8% of the 4,700 residential properties destroyed or majorly damaged by the fire, according to The Times’ analysis.
Property owners often need multiple permits. In addition to one for the main structure, the process might involve permits for demolition, electrical infrastructure, swimming pools, if included, and more. The Times’ analysis counts one application for each address no matter how many supplemental permits may be required. Additionally, the L.A. County data are limited to submissions that already have cleared an initial review by county planners.
Generally, applications at both the city and county level have been rising every week. The week of June 22 had the largest number for both the city and county with 36 and 34 submissions, respectively.
The city has approved nearly a quarter of those it’s received. L.A. County has issued permits for 15% of its 352 applications as of July 6, covering Altadena and unincorporated areas affected by the Palisades fire. In Pasadena, 20 property owners have submitted with two approved. For Malibu, 77 homeowners have submitted applications with none approved.
On average, it’s taken 55 days for the city of L.A. to issue a permit, including time it’s waited for applicants to respond to corrections, The Times’ analysis shows. The county process is slower. Once an application has been cleared by county planners, it’s been another 60 days on average for a building permit to be issued, according to the analysis.
Roberto Covarrubias, who has lived with his family in Altadena for a decade, said county officials haven’t delivered on their promises to make the process as fast as possible. His home was built in 2009 and he went to various offices seeking the original architectural plans — his paper copies burned in the fire — only to be told they didn’t exist. Weeks later, after Covarrubias hired a new architect, the county said it had located electronic plans for his old house.
Covarrubias wants to add a cellar to his new home to house the water heater and other machinery. County officials told him doing so would require additional soil testing, which he estimated would take a month and cost another $7,000. After three weeks of back-and-forth with his architect, Covarrubias said the county relented.
Any delay matters, he said. He wants to get ahead of the rush for workers and materials. And his insurance company will not release his payout until his rebuild permits are approved.
“It’s like a waterfall effect,” said Covarrubias, 50, an IT engineer.
His project remains in the permitting pipeline.
City and county officials have had to work through growing pains as they’ve attempted to implement the flurry of executive orders and programs designed to speed rebuilding.
Property owners had waited weeks in the spring, for instance, for guidelines on accessory dwelling unit construction. Last month, after sustained pressure from homeowners, the county agreed to waive permitting fees and refund those who already have paid. (The city waived its fees in April.) Both the city and the county continue testing ballyhooed artificial intelligence software to offer instant corrections to initial permit applications, with activation scheduled for this month.
The city has no immediate plans to hire additional staff or contractors to review permits because its staff is meeting its benchmarks for reviews, according to Gail Gaddi, a spokesperson for the Los Angeles Department of Building and Safety.
“However, we will continue to assess the needs of the department and will consider any adjustments as needed,” Gaddi said.
By contrast, County Supervisor Kathryn Barger, who represents areas affected by the Eaton fire, believes the county will need to add to its workforce to meet the demand.
“There needs to be additional staffing whether it’s contractors or permanent staffing,” said Helen Chavez Garcia, a spokesperson for the supervisor.
One of the more promising ways to expedite permitting is through preapproved architectural designs. The idea is that property owners could pick a model home that local governments already have signed off on, meaning the only further review needed was for issues specific to individual sites. The process has been credited for helping rapid recovery in Santa Rosa after the 2017 Tubbs fire.
Here, Somers’ firm is developing a suite of 50 plans called Case Study 2.0, named after the mid-20th century showcase of Southern California architecture. A newly formed San Gabriel Valley nonprofit, the Foothill Catalog Foundation, separately is hoping to design 50 model homes by the end of the year, said Alex Athenson, an architect and co-founder of the initiative. The catalog has had one design, a three-bedroom bungalow called “The Lewis,” approved by L.A. County. Athenson expects to submit nine more by the end of the month.
If a homeowner chooses a preapproved home, Athenson said, the entire permitting process could take two weeks or less.
“It would be incredible if homeowners can have that ease of access to starting construction,” Athenson said.
The U.S. Army Corps of Engineers is in its final month of debris removal in Altadena. It has already cleared thousands of properties destroyed in January’s devastating Eaton fire and is working on the toxic ash and refuse that remains. Once the immediacy of that task fades, years of accounting for the neighborhood’s many losses lie ahead, as does the ongoing rebuilding.
The California African American Museum is contributing to that work with “Ode to ’Dena: Black Artistic Legacies of Altadena,” an exhibition on view through Oct. 12. The exhibition — organized in just three months in response to the fire — is curated by Dominique Gallery founder Dominique Clayton. It seeks to illustrate the importance of the unincorporated foothill community to Black artists including midcentury figures like Charles White, as well as contemporary practitioners including Martine Syms and Kenturah Davis.
Between 1910 and 1970, approximately 6 million Black Americans migrated from the South to other parts of the U.S.. In Southern California, Altadena became an attractive place for Black families to settle. The area didn’t participate in the redlining practices of other neighborhoods, making it a relatively welcoming place.
Many of those residents were artists and musicians, including the famed assemblage artist and former director of the Watts Towers Arts Center, John Outterbridge, whose home and studio burned in the fire. (Outterbridge died in 2020.)
In an online description of the “Ode to ’Dena” exhibition, CAAM notes that Altadena was “hailed as the epicenter of Black arts activity in Los Angeles County,” during the 1950s and ’60s, although that artistic center of gravity later shifted toward Watts after the 1965 Watts Rebellion. Nonetheless, CAAM notes, “Altadena continued to develop as a vibrant and creative haven with a distinctive Black cultural imprint. Since then, Altadena and the adjacent city of Pasadena have served as home to an extraordinary array of Black artists, educators, musicians, intellectuals, entrepreneurs, and activists.”
In addition to Outterbridge, White, Syms and Davis, the CAAM exhibit includes work by Betye Saar, Richmond Barthé, Mark Steven Greenfield, Nikki High, Bennie Maupin, Marcus Leslie Singleton, La Monte Westmoreland and Keni “Arts” Davis.
The Times’ Noah Goldbergwrote a feature on Davis after the Eaton fire — highlighting how the retired 75-year-old Hollywood set painter spent 40 years creating watercolors of his beloved neighborhood. After the destruction, he began painting the wreckage.
For more information on CAAM and the exhibition, click here.
I’m arts and culture writer Jessica Gelt here with an important Essential Arts update: From today forward, this newsletter will now run on Friday only — rather than Monday and Friday. Here’s this week’s slew of arts news.
Best bets: On our radar this week
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The Euterpides & Serenade It’s the last two weekends to catch young composer Alma Deutscher’s debut ballet, “The Euterpides,” a world-premiere collaboration with American Contemporary Ballet Director Lincoln Jones. The work is paired with George Balanchine’s “Serenade,” set to music by Tchaikovsky. 8 p.m. Friday and Saturday; June 26-28. Television City, 200 N. Fairfax Ave., Stage 33. acbdances.com
KCRW and CAAM Summer Nights What better way to kick off summer than an all-ages dance party? In between live sets from guest DJ Damar Davis and KCRW DJ Novena Carmel cool your heels in California African American Museum’s galleries, currently featuring solo exhibitions by Awol Erizku, Darol Olu Kae, Nellie Mae Rowe and Tatyana Fazlalizadeh, plus the aforementioned “Ode to ’Dena” and a group exhibition of artists inspired by the concept of reparations. There will also be food trucks, a beer garden and crafts. Best of all? It’s free with an RSVP. 7-11 p.m. Friday. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
Patrick Dailey, center, and the W. Crimm Singers will perform Saturday at BroadStage in Santa Monica.
(BroadStage)
Sing the Story: Celebrating Black Artistry From Gospel To Soul Patrick Dailey and the W. Crimm Singers, an ensemble devoted to the Black experience and its expression through music, take to the BroadStage for a genre-blending evening featuring spiritual medleys, soul classics and more. Part of a series of blues rhythms curated by the Reverend Shawn Amos. 8 p.m. Saturday. The Plaza, 1310 11th St. Santa Monica. broadstage.org/
Wendy Red Star, Indian Summer, 2016, Los Angeles County Museum of Art, gift of Loren G. Lipson.
(Wendy Red Star)
Before You Now: Capturing the Self in Portraiture The Vincent Price Museum hosts a selection of photographs, prints, drawings, videos and installation art from LACMA’s collections that explores how American artists see and present themselves in their work. Laura Aguilar, Kwame Brathwaite, Kalli Arte Collective, Jennifer Moon, Wendy Red Star, Roger Shimomura, Cindy Sherman, Rodrigo Valenzuela and June Wayne are among the more than 50 artists redefining and expanding the concept of identity. Saturday through Aug. 30. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vincentpriceartmuseum.org
Woody De Othello, “Still Life (Luggage and Things in Hand, Ready to Go),” 2020. Acrylic, gouache, watercolor and crayon on paper, 25.75 x 20 x 1 in. Private collection.
(Courtesy of the artist and Jessica Silverman Gallery.)
2025 California Biennial: Desperate, Scared, But Social The latest edition of the large-scale, Golden State-focused exhibition explores the “richness of late adolescence, a stage of life full of hope and potential yet fraught with awkwardness, anxiety, and myriad pressures.” The show’s 12 featured artists include well-established veterans and some who are still teenagers: Seth Bogart; punk rock band Emily’s Sassy Lime (Emily Ryan, Amy Yao, Wendy Yao); rock band the Linda Lindas (Lucia de la Garza, Mila de la Garza, Eloise Won and Bela Salazar); Miranda July; Stanya Kahn; Heesoo Kwon; Woody De Othello; Laura Owens; Brontez Purnell; Griselda Rosas; Deanna Templeton; and Joey Terrill. The Biennial also features a presentation of paintings from the Gardena High School Art Collection, an assemblage of California Impressionism that began in 1919, and a program curated by present-day teenagers of works drawn from the Orange County Museum of Art collection. Saturday through Jan. 4. Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
When the Violin Choreographer/dancer Yamini Kalluri joins violinist Vijay Gupta for an evening of music by JS Bach and Reena Esmail. The program combines poetry, music and a combination of modern and traditional Kuchipudi dance. 7:30 p.m. Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre. sierramadreplayhouse.org
Georgia O’Keeffe, 1918, by Alfred Stieglitz.
(National Gallery of Art)
Georgia O’Keeffe: The Brightness of Light A new documentary on the iconic American artist from Academy Award-winning director Paul Wagner (“The Stone Carver”). The film covers O’Keeffe’s life from Jazz Age New York to the New Mexico desert and features music by Emilie Levienaise-Farrouch and narration by Hugh Dancy, with Claire Danes as the voice of O’Keeffe. 7 p.m. Tuesday. Laemmle Royal, 11523 Santa Monica Blvd.; Aug. 2, Laemmle Newhall, Laemmle Glendale, Laemmle Town Center 5, Encino, Laemmle Monica Film Center and Laemmle Claremont 5. laemmle.com/film/georgia-okeeffe-brightness-light
Culture news
Kim Sajet, director of the National Portrait Gallery, in 2017.
(Kevin Wolf / AP Images for National Portrait Gallery)
The drama surrounding President Trump’s purported firing of National Portrait Gallery Director Kim Sajetreached a conclusion last week when Sajet decided to step down on her own terms. “It has been the honor of a lifetime to lead the Smithsonian’s National Portrait Gallery. This was not an easy decision, but I believe it is the right one,” Sajet wrote in a note to staff shared in an email by the Smithsonian Institution’s leader, Lonnie Bunch. Sajet’s announcement came two weeks after Trump claimed to have fired her for being, “a highly partisan person, and a strong supporter of DEI.” About a week later, the Smithsonian Institution released a statement asserting its independence in the face of Trump’s order, but that seems to not have been enough to persuade Sajet to stay.
The SoCal scene
Noah Davis, “1975 (8),” 2013, oil on canvas
(Kerry McFate)
The work of Seattle-born, L.A.-based artist Noah Davis — who died of a rare form of liposarcoma at the the age of 32 — is the subject of Times art critic Christopher Knight’slatest review. The Hammer Museum is staging a retrospective of Davis’ paintings. It’s only composed of about three dozen pieces, but Knight says it’s more than enough to show that “when Davis was good, he was very good indeed.” It is clear, Knight notes, that had his life not been cut tragically short, Davis was well on his way to further accomplishment. “The show affirms his gift for what it was: Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even as his work was in invigorating development,” Knight writes.
The 2025 Ojai Music Festivalwas one of the best, writes Times classical music critic Mark Swed, of the annual event in the bucolic Ventura County town. Founded nearly 80 years ago by an East Coast music lover named John Leopold Jergens Bauer, the event was originally meant to be California’s answer to the Salzburg Festival. That aspiration never quite came to pass, but over the years the progressive gathering staged mostly at the Libbey Bowl has come to embody a groundbreaking ideal of new music. This year’s music director was the flutist Claire Chase, who, according to Swed, “collected concerned composers on a quest for a kind of eco-sonics capable of conjuring up the pleasure of nature and, in the process, saving our sanity.”
Last Saturday, Esa-Pekka Salonen, “conducted his San Francisco Symphony in a staggering performance of Mahler’s Symphony No. 2, known as the ‘Resurrection.’ It was a ferocious performance and an exalted one of gripping intensity,” Swed wrote in a glowing review of the legendary conductor’s final show with the troubled orchestra he opted to leave when he decided not to renew his contact after five years of serving as its music director. “The audience responded with a stunned and tumultuous standing ovation,” Swed notes.
Times reporter Kailyn Brown headed to the Music Center on Sunday — a day after the city’s massive “No Kings” protests — to talk to audience members who attended L.A. Opera’s “Rigoletto” and Center Theater Group’s “Hamlet” despite the recent tumult and nighttime curfew in downtown L.A. In a series of interviews, accompanied by smiling photos, Brown’s reporting shows what many Angelenos have been trying to tell friends and family outside of the city: It’s not as bad as it may seem on your social media feeds. Downtown L.A. is more or less back to normal. And besides: It’s never a bad idea to show up in support of the arts.
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CAP UCLA announced its 2025-26 season — its second under its new Executive and Artistic Director Edgar Miramontes. This season’s offerings include 30 performances featuring more than 100 international artists. “As borders become more intensified, Miramontes is committed to continued international exchange of ideas and learnings to encourage more empathy, connection, and shared understanding through presentations by acclaimed artists from around the world, spanning genre-defying jazz, Afro-Latin fusion, 21st-century classical music, and exciting new works in dance and theater,” the season release explains. Shows include: the Mexican collective Lagartijas Tiradas al Sol; basoonist and composer Joy Guidry; the jazz singer Lucía; trumpeter and composer Milena Casado; and Cuban musicians Alfredo Rodriguez and Pedrito Martínez, along with many others. “This season is more than a series of performances — it is a call to community,” Miramontes wrote in a note to patrons. “Exciting new theater, revolutionary music, and dance remind us that unity is not an ideal — it is an act. The stage becomes our platform, our laboratory, our refuge. Here, we witness. We reckon. We rejoice.” For tickets and the full schedule, click here.
Playwright Michael Shayan has released a new Audible Original play titled “Cruising.” It’s directed by Robert O’Hara, who was nominated for a Tony Award for directing “Slave Play” and is also in the midst of presenting his world-premiere adaptation of “Hamlet” at the Mark Taper Forum. The comedy follows an aspiring gay playwright who — suffering from a summer of writer’s block and apathy in his Encino apartment — embarks on a flamboyant cruise in his imagination, only to discover that his real life is falling apart around him. “Cruising” features the voices of Christine Baranski, Tituss Burgess, Cecily Strong, André de Shields and Andrew Rannells, and can be streamed here.
Los Angeles Chamber Orchestra announced its 2025-26 season, which continues this year at the Wallis in the Bram Goldsmith Theater. Offerings include a concert of classics led by Music Director Jaime Martín, featuring the German French cellist Nicolas Altstaedt; guest conductor Dinis Sousa with German violinist Isabelle Faust; violinist Anthony Marwood; pianist Richard Goode playing Mozart; a Brahms concert; a Baroque salon featuring harpsichordist Pierre Hantaï; and a performance by soprano Amanda Forsythe. For tickets and more info, click here.
— Jessica Gelt
And last but not least
What? You say you’d like a good beef roll for lunch? Me too! Here’s a list for where to find the best eight in the city by Times Food columnist Jenn Harris.
The investigation was launched by Garcia and more than a dozen members of L.A.’s congressional delegation in February after L.A. County sent a series of faulty evacuation alerts on Jan. 9, urging people across a metropolitan region of 10 million to prepare to evacuate. The faulty alerts came two days after intense firestorms erupted in Pacific Palisades and Altadena.
The alerts, which were intended for a small group of residents near Calabasas, stoked panic and confusion as they were blasted out repeatedly to communities as far as 40 miles away from the evacuation area.
The new report, “Sounding the Alarm: Lessons From the Kenneth Fire False Alerts,” alleged that a technical flaw by Genasys, the software company contracted with the county to issue wireless emergency alerts, caused the faulty alert to ping across the sprawling metro region.
It also found that, contrary to accounts of L.A. County officials at the time, multiple echo alerts then went out as cellphone providers experienced overload due to the high volume and long duration of the alerts. Confusion was compounded, the report said, by L.A. County’s vague wording of the original alert.
“It’s clear that there’s still so much reform needed, so that we have operating systems that people can rely on and trust in the future,” Garcia told The Times.
The Times was reaching out to Genasys and county officials for response to the report.
A Long Beach Democrat who sits on the U.S. House Committee on Oversight and Government Reform, Garcia said the stakes were incredibly high.
“We’re talking about loss of life and property, and people’s confidence in our emergency notification systems,” he said. “People need to be able to trust that if there’s a natural disaster, that they’re going to get an alert and it’s going to have correct information, and we have to provide that level of security and comfort across the country.”
To improve emergency warning alert systems, the report urges Congress and the federal government to “act now to close gaps in alerting system performance, certification, and public communication.”
“The lessons from the Kenneth Fire should not only inform reforms,” the report states, “but serve as a catalyst to modernize the nation’s alerting infrastructure before the next disaster strikes.”
The report makes several recommendations. It calls for more federal funding for planning, equipment, training and system maintenance on the Federal Emergency Management Agency’s Integrated Public Alert & Warning System, the national system that provides emergency public alerts through mobile phones using Wireless Emergency Alerts and to radio and television via the Emergency Alert System.
It also urges FEMA to fully complete minimum requirements and improve training to IPAWS that Congress mandated in 2019 after the Hawaii Emergency Management Agency sent out a false warning of an incoming missile attack to millions of residents and vacationers. Five years after Congress required “the standardization, functionality, and interoperability of incident management and warning tools,” the report said, FEMA has yet to finish implementing certification programs for users and third-party software providers. The agency plans to pilot a third-party technology certification program this year.
The report also presses the Federal Communications Commission to establish performance standards and develop measurable goals and monitoring for WEA performance, and ensure mobile providers include location-aware maps by the December 2026 deadline.
But the push for greater oversight is certain to be a challenge at a time when President Trump and U.S. Homeland Security Secretary Kristi Noem are pushing for FEMA to be dismantled.
In the last few days, the Trump administration fired FEMA’s acting head, Cameron Hamilton, after he told U.S. lawmakers he does not support eliminating the agency. Noem told U.S. Congress members at a hearing last week that Trump believes the agency has “failed the American people, and that FEMA, as it exists today, should be eliminated in empowering states to respond to disasters with federal government support.”
Garcia described the Trump administration’s dismantling of FEMA as “very concerning.”
“We need to have stable FEMA leadership,” Garcia told The Times. “The recent reshuffling and changes that are happening, I hope, do not get in the way of actually making these systems stronger. We need stability at FEMA. We need FEMA to continue to exist. … The sooner that we get the investments in, the sooner that we complete these studies, I think the more safe people are going to feel.”
Garcia said his office was working on drafting legislation that could address some of these issues.
“We really need to push FEMA and we need to push the administration — and Congress absolutely has a role in making sure these systems are stronger,” Garcia said. “Ensuring that we fully fund these systems is critical. … There’s dozens of these systems, and yet there’s no real kind of centralized rules that are modern.”
According to FEMA, more than 40 different commercial providers work in the emergency alert market. But further steps need to be taken, an agency official said, to train local emergency managers and regulate the private software companies and wireless providers that play a pivotal role in safeguarding millions of Americans during severe wildfires, hurricanes, tornadoes, floods and active shooter incidents.
“Ongoing efforts are needed to increase training with alerting authorities, enhance standardization with service providers, and further collaboration with wireless providers to improve the delivery of Wireless Emergency Alerts to the public,” Thomas Breslin, acting associate administrator of FEMA’s Office of National Continuity Programs, said in a letter to Garcia.
Genasys, a San Diego-based company, said in a recent SEC filing that its “ALERT coverage has expanded into cities and counties in 39 states.” “The vast majority of California” is covered by its EVAC system, it said, which continues “to grow into the eastern United States, with covered areas expanding into Texas, South Carolina, and Tennessee.”
Genasys also noted that its ALERT system is an “interactive, cloud-based” software service, raising the possibility of communication disruption. “The information technology systems we and our vendors use are vulnerable to outages, breakdowns or other damage or interruption from service interruptions, system malfunction, natural disasters, terrorism, war, and telecommunication and electrical failures,” it said in its SEC filing.
As part of its investigation into how evacuation warnings were accidentally sent to nearly 10 million L.A. County residents during the L.A. fires, Garcia received responses from Genasys, L.A. County, FEMA and the FCC.
The report said a L.A. County emergency management worker saved an alert correctly with a narrowly defined polygon in the area near the Kenneth fire. But the software did not upload the correct evacuation area polygon to IPAWS, possibly due to a network disruption, the report said. The Genasys system also did not warn the L.A. County emergency management staffer that drafted the alert a targeted polygon was missing in the IPAWS channel before it sent the message, the report found.
Genasys has since added safeguards to its software, but the report noted that Genasys did not provide details about the incident. . It suggested the independent after-action review into the Eaton and Palisades fire response “further investigate Genasys’ claims of what caused the error, and how a network disruption would have occurred or could have blocked the proper upload of a polygon into the IPAWS distribution channel.”
The report commended L.A. County for responding quickly in canceling the alert within 2 minutes and 47 seconds and issuing a corrected message about 20 minutes later, stating the alert was sent “in ERROR.”
But it also criticized the county’s wording of the original alert as vague. Some confusion could have been avoided, it said, if the emergency management staffer who wrote the alert had described the area with more geographic specificity and included timestamps.
The report also found that a series of false echo alerts that went out over the next few days were not caused by cellphone towers coming back online after being knocked down because of the fires, as L.A. County emergency management officials reported. Instead, they were caused by cellphone networks’ technical issues.
One cellphone company attributed the duplicate alerts to a result of “overload, due to high volume and long duration of alerts sent during fires.” While the report said the company installed a temporary patch and was developing a permanent repair, it is unclear if other networks have enabled safeguards to make sure they do not face similar problems.
The report did not delve into the critical delays in electronic emergency alerts sent to areas of Altadena. When flames erupted from Eaton Canyon on Jan. 7, neighborhoods on the east side of Altadena got evacuation orders at 7:26 p.m., but residents to the west did not receive orders until 3:25 a.m. — hours after fires began to destroy their neighborhoods. Seventeen of the 18 people confirmed dead in the Eaton fire were on the west side.
Garcia told The Times that the problems in Altadena appeared to be due to human error, rather than technical errors with emergency alert software. Garcia said he and other L.A. Congress members were anxious to read the McChrystal Group’s after-action review of the response to the Eaton and Palisades fires.
Local, state and federal officials all shared some blame for the problems with alerts in the L.A. fire, Garcia said. Going forward, Congress should press the federal government, he said, to develop a reliable regulatory system for alerts.
“When you have so many operators and you don’t have these IPAWS requirements in place, that is concerning,” Garcia said. “We should have a standard that’s federal, that’s clear.”
Garcia told The Times that emergency alerts were not just a Southern California issue.
“These systems are used around the country,” he said. “This can impact any community, and so it’s in everyone’s best interests to move forward and to work with FEMA, to work with the FCC, to make sure that we make these adjustments and changes. I think it’s very critical.”
Times staff writer Paige St. John contributed to this report.
