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In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.

This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia

On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”

Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.

The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.

“Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”

Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.

He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.

“Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”

Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.

The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.

On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.

As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”

Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.

“At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”

Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.

“It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”

Los Angeles property owners voted against an increase in an assessment for maintaining streetlights that would have collected an additional $80 million a year, as the city faces a backlog of broken streetlights due to stagnant funding and a rise in vandalism.

The assessment has not changed since 1996. Property owners had until June 2 to submit their votes, which were weighted by the amount of their parcel’s proposed assessment. According to results released Thursday, nearly 80% of the weighted vote went against raising the assessment, which currently generates about $45 million a year.

For the average single-family home, which make up the majority of parcels, the current payment is $58 annually, or about $5 a month, according to Miguel Sangalang, executive director and general manager of the Bureau of Street Lighting. The increase would have brought the average annual bill to $117, or about $10 a month.

The proposed increase would have brought the total amount collected by the assessment to $125 million a year.

In a joint statement Thursday, Mayor Karen Bass, Council President Marqueece Harris-Dawson and City Councilmembers Eunisses Hernandez and Katy Yaroslavsky said that despite the result, the “critical work will continue” to address the broken streetlights that have plunged neighborhoods into darkness across the city.

“Despite this outcome, the City remains committed to improving streetlight reliability, repairing outages faster, and building a sustainable funding path for streetlight operations and maintenance,” the group statement said. “Every Angeleno deserves to feel safe walking their dogs, returning home from work, and parking their cars at night, and the City is committed to delivering the reliable street lighting that makes that a reality.”

The Bureau of Street Lighting owns and operates nearly 225,000 streetlights across the city, which have historically been covered by the assessment. The average repair time for a streetlight was one year, bureau officials said in February.

Without more revenue from the assessment, city officials have been looking for alternative funding. The City Council has said it will finance $65 million for solar-powered streetlights.

Bass recently announced an initiative to repair and replace 60,000 streetlights over the next two years, and several council members have turned to their district’s discretionary funding to fix broken streetlights in their districts.

Hernandez, who chairs the council’s Public Works Committee, said in a statement that the result doesn’t change the fact that the city is trying to maintain a 21st century lighting system with an outdated funding model.

“If this assessment isn’t the path forward, then it’s our responsibility to build one through better leveraging City assets like light poles, exploring new revenue opportunities, and pursuing reforms to outdated state laws like Proposition 218 that make it extraordinarily difficult for cities as large as Los Angeles to maintain basic public infrastructure,” she said.

Broken streetlights have emerged as an issue in the mayoral election, with Councilmember Nithya Raman citing broken lights as an example of how the city “can’t seem to manage the basics.” Raman is facing Bass in a Nov. 2 runoff.

In February, city council members announced a plan to replace streetlights with solar-powered versions, in an attempt to deter copper wire theft. About 1 in 10 streetlights are out of service because of disrepair or copper wire theft, according to the city.

A well-known example is the Sixth Street Bridge, where thieves stole seven miles’ worth of wire.

For the second straight year, the City Section is allowing a pilot program of high schools forming a boys flag football league as its popularity grows.

This year’s group of high school participants is expected to double in size between eight and 16 teams, City Section commissioner Vicky Lagos said. All will be small charter schools. Last year, several teams that temporarily dropped 11-man football, Sotomayor and Torres, had flag teams in a league that was played in the fall. Sotomayor and Torres will have 11-man teams this season.

When Lagos mentioned the pilot boys flag football league at an 11-man coaches meeting this month, there was clear skepticism voiced by coaches. If boys flag football ever gets approved, Lagos said schools would have to choose between having an 11-man team or a flag team. When Lagos mentioned having the flag season in the spring, there was concern it would take away participants from track and field teams.

This issue figures to come up around the state as schools in the California Interscholastic Federation have similar discussions. Flag football is likely to gain a boost in exposure when it is played at the 2028 Olympic Games in Los Angeles.

Lagos points out that boys flag football participants would be different than 11-man. Middle school students engage in flag football and attract students whose parents don’t want them to play 11-man tackle football for fear of head injuries.

Girls flag football is in its fourth year and rising fast. Adding boys flag football is a debate and issue that will need to be addressed in the future.

Ron Nocetti, executive director of the CIF, said a section must first bring up adding boys flag football as a sport before real discussions can begin.

LESS than two hours from the UK is a fairytale-like city that is getting easyJet flights for the first time.

EasyJet is launching a new route between the UK and Nuremberg in Germany from three UK airports this year.

Flights to Nuremberg will head off from Manchester, London Luton and London Gatwick.

Manchester flights will start on November 2, flying on Mondays and Fridays.

Then in London, Gatwick flights will start on November 19 flying on Thursdays and Sundays and Luton flights will start on November 23 flying on Mondays, Wednesdays, and Fridays.

Flights will cost from £31.99 per person.

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You may have heard of or even watched Nuremberg the film, but how much do you actually know about the city?

When in the medieval city make sure to head to the Imperial Castle (Kaiserburg), which looks over the city and Old Town.

Between 1050 and 1571, every Holy Roman Emperor lived at the castle and today visitors can see the main imperial palace, with different floors for different groups of nobility.

Visitors can head around the grounds for free, but if they want to go inside any of the buildings they’ll need to get a ticket.

There’s also Weißgerbergasse, which is one of the city’s only streets to survive the Second World War and is lined with colourful timber-framed houses.

The street is home to a number of independent cafes as well as galleries.

For some more souvenir shopping, drop by the Craftsman’s Courtyard where you can watch live sessions of artists making pottery, glass ornaments and keepsakes.

For history fans, you can learn more about the Nuremberg Trials at the East Wing of the Palace of Justice.

Here you can tour Courtroom 600, which is where the international war crimes trials were held and above the courtroom you will find an exhibition about the trials.

When exploring the city, make sure to also drop by Zum Gulden Stern, which is an 800-year-old bratwurst kitchen.

Inside, the restaurant has an old-world feel – ideal for enjoying with one of the kitchen’s famous hand- grilled, smokey pork sausages.

And for something sweeter, try Lebkuchen, which is Nuremberg’s version of gingerbread.

And with flights launching in time for the festive season, it is ideal for a winter break to one of Europe’s oldest Christmas markets.

The Christkindlesmarkt dates back to the 16th century and visitors can explore around 180 wooden stalls, with red and white striped roofs.

Mass produced, plastic items are banned from being sold at the market, so instead you’ll find traditional handmade gifts including collectible figurines.

The new flight route comes as easyJet has also announced it will be launching other new routes,including to Morocco, France and Egypt.

Flights from London Luton to Rabat in Morocco will launch on November 5.

Over at London Southend Airport, flights to Lyon in France will start on December 3, with flights on Thursdays and Sundays.

A route between London Southend to Sharm El Sheikh in Egypt will start in the new year on January 4, with flights each Monday and Friday.

The airline is also expanding flights to Budapest in Hungary, from Bristol, Belfast and Liverpool airports.

Scotland will get a new service as well, between Edinburgh to Tromsø, Norway from November 30.

And over in Manchester, there will be flights to Vienna, Austria, launching on November 19.

Isle of Man will get its first international route with the airline, to Geneva, starting on December 19.

June 26 (UPI) — New York City’s rental board has approved Mayor Zohran Mamdani’s two-year rent-freeze proposal for nearly 1 million rent-stabilized apartments, fulfilling a major campaign promise.

New York City’s Rent Guidelines Board voted 7-1 to set a 0% increase for rent-stabilized one-year and two-year leases commencing on or after Oct. 1, and on or before Sept. 30, 2027.

Cheers erupted from the spectators assembled as it was announced that the motion passed.

“This is a historic victory for New York City tenants,” Mamdani said in a statement following the vote.

“After reviewing the data and hearing from New Yorkers across the city, the independent RGB has delivered a freeze on one-year leases, and the first-ever freeze on two-year leases in our city’s history. This is the relief that working people across our city deserve.”

Mamdani, a democratic socialist, campaigned heavily on making life more affordable for the average New Yorker, including by creating new affordable housing and freezing rents where legally permitted.

The mayor said he is grateful for the board members’ “thoughtful consideration of the data” before casting their votes.

“I’ll continue to deliver a more affordable city by building and preserving affordable housing, lowering building operating costs like insurance, and ensuring tenants know their rights,” he said.

According to a New York City housing survey from 2023, there were 996,600 rent-stabilized units, representing about 41% of all rental units across the city. Rent stabilization generally applies to buildings with six or more units built before 1974.

The only vote against the rent freeze came from Arpit Gupta, an associate professor of finance at New York University’s Stern School of Business.

In a statement published online following the vote, Gupta argued that the rent freeze will not solve the housing crisis while possibly making it worse and ultimately driving up rents. He also said the rent freeze could prevent building owners from considering improvements and renovations.

“Residents might continue to enjoy low rents but at the cost of being trapped in units that no longer fit their needs, and with few alternatives and steadily deteriorating conditions,” he said.

“A better option is to undertake the harder reforms needed to make housing more affordable and accessible — that is, build more of it.”

The vote was held following a series of hearings in which nearly 330 people participated and nearly 700 people submitted written, audio or video testimony about their experiences.

New York State Assembly Member Tony Simone said the rent freeze will impact about 2 million New Yorkers and is expected to save renters as much as $6.8 billion over Mamdani’s four-year term.

“This immediate action reflects the urgency needed to prevent more working-class New Yorkers from being priced out of our city,” he said in a statement, while stating that the structural factors that are driving up prices must be addressed.

“To truly address the housing crisis, we need to tackle its root cause: the housing shortage,” he continued.

“New York needs to build more housing units.”

Los Angeles Mayor Karen Bass is once again dealing with blowback for being out of town when a massive fire ignited.

The fire at a cold storage facility in Boyle Heights began burning Wednesday, hours after Bass departed for the dedication of the Barack Obama Presidential Center in Chicago.

Since arriving back in Los Angeles around 6 p.m. Thursday, Bass has been to the scene of the fire numerous times, declared a local emergency, hosted five press conferences, met with local leaders and families affected by the fire, and distributed masks and air purifiers.

But her quick return and public appearances have not stopped some from drawing parallels to last year’s Palisades fire. Bass was in Ghana on a diplomatic trip when the deadly inferno spread amid extraordinarily high Santa Ana winds that forecasters had warned about for days.

While the scale of the destruction in Boyle Heights doesn’t compare to the 12 lives and thousands of homes lost in the Palisades fire, Angelenos are having flashbacks as toxic smoke hovers over parts of the region.

Bass, who is running for reelection, said in an interview that she rarely travels and always worries about what could happen when she does — whether it’s a fire or a big car accident. She also said she chose Chief Jaime Moore to lead the Los Angeles Fire Department because she trusts him to handle a crisis like this fire.

“I was in Chicago three hours away, and I was there 24 hours,” Bass said, noting that she was in constant communication with the chief during her brief trip.

Bass’ handling of the Palisades fire, beginning with her absence from the city, has had a long-lasting, negative impact on voters’ opinions of her, with polls repeatedly showing high unfavorability ratings.

A May poll by the UC Berkeley Institute of Governmental Studies, which was co-sponsored by The Times, found that 57% of likely Los Angeles voters had unfavorable views of Bass, while 35% had favorable views.

Bass, who served in Congress for more than a decade, was designated by then-President Biden to be part of his official delegation to attend the inauguration of Ghanaian President John Dramani Mahama. She was captured in photos at an embassy cocktail party in Accra as the Palisades fire exploded Jan. 7, 2025.

Last week, there was no warning that anything was amiss when she left the city. But any echoes of the Palisades fire could damage Bass’ image as she campaigns against City Councilmember Nithya Raman in the November runoff election.

“We’re talking about a fire, and she’s out of town, so it completely and totally reinforces that narrative of January 2025, and that’s not helpful,” said Fernando Guerra, director of the Center for the Study of Los Angeles at Loyola Marymount University.

Guerra said while Bass can do much of her job from another city for a day, a mayor is often faulted for not being front and center during an emergency.

“With today’s tech and instant communication, is it really that different that she’s in Chicago making calls than at City Hall?” he said. “But it has always been the case for executives that, symbolically, it is their job to be at the point of the crisis to assure those that are impacted directly, and the city as a whole, that they have the situation under control.”

Guerra said it didn’t help that Kevin Marchetti, the owner of the cold storage facility operating in the burning building, contributed the maximum, $1,800, to Bass’ reelection campaign last year.

Raman declined to comment on Bass’ handling of the Boyle Heights fire.

The blaze ignited Wednesday at the nearly 500,000-square-foot cold storage facility run by a company called Lineage, beginning on the roof, which caused a partial collapse and moved the flames into the building, where 85 million pounds of food are stored.

Firefighters have been battling the flames for seven days now, and smoke has made air dangerous to breathe in neighborhoods across the Los Angeles region.

Bass’ absence from the city soon caught the eye of right-wingers, with Spencer Pratt, who ran against her in the nonpartisan primary election, and Steve Hilton, who is running for governor, among those critiquing her.

“I don’t know what’s wrong with Karen Bass that she seems to keep leaving the city every time something happens,” Hilton said at a Monday press conference in Boyle Heights.

Pratt, who lost his house in the Palisades fire and came in third in the primary, drew the comparison directly.

“Karen was sipping cocktails in Chicago when the Boyle Heights Fire erupted, just as she was sipping cocktails in Ghana when our Palisades Fire erupted. I warned you all … what happened to us will happen to all of LA,” he posted on X on Sunday.

As she flew back to L.A. from Ghana, Bass repeatedly reminded her staff that she could make calls from the military flight, her text messages showed. But during one call or Zoom with her staffers, she had technical problems, texting, “I am listening don’t know why you can’t [hear] me.”

During the Palisades fire, then-Fire Chief Kristin Crowley publicly accused city leaders of failing to give her department the resources it needed. Bass ultimately removed Crowley from her post over her handling of the fire.

Moore, the new chief, has appeared to be in lockstep with the mayor during the Boyle Heights fire, saying she has been an active partner.

About 30 minutes after the fire began, Moore was on the scene. Ten minutes after he arrived, he was on the phone with Bass, he said.

Over the next day, while Bass was in Chicago, Moore estimated that they spoke six times over the phone.

Moore said her absence was a non-issue.

“Until Mayor Bass goes through our 20-week drill tower, and she learns to fight a fire and she can stand next to me on a hose line, I don’t need her in this city,” Moore told The Times on Tuesday.

“She’s our mayor. She was doing exactly what she needed to do,” he added. “She answered the phone. She provided me exactly what I needed, and that was, ‘Whatever you need to do, you do it.’”

Yes, you should visit Mexico City. Don’t overthink it and don’t delay. Despite excessive tourism and rising gentrification fears, the seething capital of Mexico — 25 million souls strong — remains a top-tier international destination for any committed food lover. And the intensity of its dining scene seems to be only growing.

Sure, a wave of privileged remote workers oozing dollars and euros may have dampened the vibe for Mexico City natives, leading to protests. The post-pandemic issues of housing displacement and rising costs for locals are serious challenges that political leaders must address. Yet time and again, on every visit, the resiliency and passion that original defeños have for their gastronomical paradise proves to be boundless.

Use these handy dining guides for all of your summer travel, near and far.

I have traveled to Mexico City regularly since 2002 and lived there for nearly a decade. I won’t feel slighted if you prefer the dining advice of current residents, or from any of the numerous local dining guides online. But one thing about me, I have an aversion to hype, and tend to avoid the city’s contemporaneous food magnets where the ratio of foreigners to locals is too out of whack. (No, the Michelin-starred taqueria was never extraordinarily better than any others in its bracket.) Where my native friends go, I go.

Here are highlights of my top, top, top recommendations from my L.A. Times restaurant guides on Mexico City, plus a few more favorites. My goal here is to distill down your options for a concentrated, food-centric visit, from nostalgic jewels beloved by hardscrabble chilangos to the celebrated shrines of high-end chefs reaping the bounties of the Valley of Mexico.

Tokyo isn’t one city. It’s many cities, and each is its own universe.

Occasionally — at a certain subterranean bar big enough for only seven people, or a sushi counter on the fifth floor of a random office building — I feel as if I’m stepping into another time or dimension.

Finding your way to any of the millions of restaurants, cafes, bars and shops (some are micro-businesses in an alley in a village in the city) can be like figuring out a many-layered puzzle. Like Tokyo, each experience is dense.

Use these handy dining guides for all of your summer travel, near and far.

The Japanese word for hospitality is omotenashi. But its meaning goes far beyond just customer service. Even the translations “wholehearted, selfless hospitality” or “flawless care” don’t cover all of the philosophies that make up omotenashi: magokoro (“true heart” or “sincere feeling”), ichigo ichie (“one time, one meeting”) and kuuki wo yomu (“reading the air”). The last refers to the intuitive ability to anticipate guests’ needs before they ask — an idea rooted in tea ceremony, which is rooted in Buddhism. It’s hard to grasp that level of selflessness.

Here are some of our favorite places to lose yourself in Tokyo. — Betty Hallock

If You Stay

(Giacomo Bagnara / For The Times)

When you live in Los Angeles, there are far worse fates than being stuck in the city all summer. Our thriving food capital draws diners out with sunlit farmers markets, midnight taco stands, multigenerational kebab shops and serene sushi dens. Community-oriented breweries, stylish wine bars and glimmering rooftop destinations round out the scene.

Whether you’re a lifelong Angeleno, new transplant or just passing through, you’ll want to get to know the 50 essential dining experiences that define eating in L.A. right now, from a pastrami sandwich at an iconic deli near MacArthur Park to a char-spotted tlayuda at a burgeoning food bazaar in West Adams and an L.A.-shaped churro from a rising Highland Park panadería.

Don’t miss our guide with nearly two-dozen new bar openings across the city. Finally, a handful of sparkling rooftops recently debuted across the city, offering vistas into neighborhoods we rarely spy from up above.

Thoughtfully compiled by our Food staff over the course of several months, we invite you to return to these lists whenever you’re seeking an answer to that perennial question: Where should I go next? — Danielle Dorsey

If You Go

(Giacomo Bagnara / For The Times)

There’s no easier way to get to know a new place than through its food. Wandering markets, eating at food stalls, sitting among locals and fellow travelers at the restaurants that embody a city. Its flavors and customs and ways of living are revealed to us over dinner or even a simple morning coffee.

And for those of us who are lucky enough to write about food for a living, traveling with an eater’s mindset gives us a deeper understanding of places we’ve read about in cookbooks and novels or seen in movies.

Each of us at L.A. Times Food keeps a running list of our favorite restaurants in some of the world’s great cities — and we want to share what we know with you. The recommendations that follow are not meant to be definitive for any given place. These are personal guides by dedicated eaters to some of the places we’ve loved during our wanderings around the globe.

If you’d like to share your own personal favorites with us, we’d love to hear from you in the comments below. — Laurie Ochoa

A new sales tax that would generate $345 million annually for the Los Angeles Fire Department will go before voters later this year, the City Council decided Tuesday, as a stubborn warehouse blaze burned for a seventh day on the city’s eastern edge.

The council voted 14-0 to put the half-cent sales tax hike on the Nov. 3 ballot, with supporters saying the additional funds would go toward more firefighters, new fire stations and new equipment, such as firetrucks and helicopters.

The vote came nearly 18 months after the outbreak of the Palisades fire, which destroyed thousands of homes in Pacific Palisades, Malibu and other coastal areas, leaving 12 people dead. But it more immediately coincided with the city’s fight to extinguish the blaze at the Boyle Heights cold storage facility, which has spread smoke across the region over the last week.

The campaign for the sales tax hike is being spearheaded by United Firefighters of Los Angeles City Local 112, the union that represents nearly 3,400 firefighters. Appearing before the council, union leaders pointed to the Boyle Heights fire as the latest sign that the city needs more money for emergency response.

“This is our plan to undo decades of under-investment in the department,” said Ryan Quigley, a 23-year firefighter/paramedic who also serves as the union’s secretary.

Mayor Karen Bass, through a spokesperson, said she is grateful to the union for bringing the tax proposal forward.

“[The mayor] has championed this measure from the very beginning,” the spokesperson, Paige Sterling, said in a statement.

The firefighters union began gathering signatures for the tax earlier this year, submitting them to the city clerk last month. Since then, backers have voiced confidence that it would pass, given the growing concern across the city about urban wildfires.

Still, the path to victory could be complicated by recent events.

Last month, Los Angeles County voters narrowly passed a different half-cent sales tax hike that’s expected to raise $1 billion annually to pay for healthcare. That measure, which received just above the 50% needed for passage, pushed the tax rate within the city of Los Angeles to 10.25 cents for every dollar of spending.

If voters approve the fire tax increase as well, the rate will jump to 10.75 cents per dollar.

The firefighters union also will be campaigning in a year when one of its recent leaders, Adam Walker, has been charged with one count each of grand theft and forgery. He has been accused of stealing more than $82,000 from a charity for injured firefighters to pay for his online gambling, his mortgage and other personal expenses.

Union President Doug Coates said Walker left his position two years ago. The union, he said, intends to make clear to voters that “the money is going to the right thing.”

So far, no one has emerged as an opponent of the tax increase. The Central City Assn., a downtown-based business group, is supporting the fire tax.

Susan Shelley, spokesperson for the Howard Jarvis Taxpayers Assn., said her organization has not taken a position on the proposal. Still, she argued that sales taxes in general are “extremely regressive,” hitting the hardest for Angelenos who can afford it the least.

“Our view is that the city budget should be prioritized to fund the fire department from the first dollar, not the last dollar,” Shelley said. “And that there shouldn’t be a need for a tax increase.”

The sales tax hike, if approved by voters, would represent the most significant public investment in the fire department since 2000, when voters passed a $532-million bond measure to pay for new facilities. Backers said the tax increase would help the department speed up emergency response times, while also building new fire stations and repairing existing ones.

The firefighters union began work on the tax proposal more than two years ago, before the inferno that erupted on Jan. 7, 2025, and carved a lethal path through Pacific Palisades and other communities. Still, the push for more funding gained greater attention in the wake of the fire.

While the flames were still raging, then-Fire Chief Kristin Crowley went on local and national television to accuse city leaders of failing to give her department the resources it needed. The media blitz shocked some at City Hall, who believed Crowley should have waited until the emergency was over before publicly assigning blame.

Crowley and the union said city leaders had forced the department to scale back its operations amid a budget crunch. Bass and the city’s policy analysts pointed out that fire department spending grew that year, largely because of pay increases given to firefighters.

Bass ultimately ousted Crowley, saying the chief failed to properly deploy firefighters amid warnings of dangerous Santa Ana winds. Crowley, who was demoted to another position, filed a lawsuit against the city, saying the mayor engaged in a retaliation campaign.

The fire that broke out last week at the Lineage Logistics cold storage facility has helped to rekindle calls for additional fire department funding.

Councilmember Eunisses Hernandez, whose Eastside district has been enveloped in smoke in recent days, told her colleagues Tuesday that climate change and corporate negligence are making such emergencies “more frequent and more severe.”

“Whether it’s the devastating fires that hit Altadena and the Palisades last year, or the Boyle Heights warehouse fire currently affecting air quality and public health across the whole city, every one of our districts is feeling the impacts,” she said, before voting to put the tax on the ballot.

Councilmember Traci Park, who represents the Palisades, said the fires in the Palisades and Boyle Heights have “exposed Los Angeles’ urgent need to modernize LAFD for the realities and demands of a modern century.”

Fire Chief Jaime Moore, in an interview Monday, said he asked Bass to declare a state of emergency last week so that his department could obtain additional resources to fight the Boyle Heights fire, including firefighters, firetrucks, drone pilots and hazardous materials teams.

“I had firefighters work Wednesday afternoon, Thursday, Friday, Saturday. I talked to my incident commander, and he goes, ‘Chief, these guys are getting their butts kicked.’ And that’s when I said, ‘I’m gonna reach out to the mayor, and I’m gonna see what I can do to get the state of emergency declared.’”

Supporters of the sales tax increase contend the department lacks the personnel to serve a city of nearly 4 million people. According to the union, L.A. has nearly 3,400 firefighters, roughly the same number as 50 years ago.

If voters pass the sales tax hike, the city would have the funds to bring the department up to 5,000 firefighters by 2050, union officials said.

At the beginning of Mary H.K. Choi’s wildly entertaining presentation for her new novel “Pool House’” at Skylight Books, she reveals she won’t be reading.

“Readings are boring,” she says, tapping her Prada loafers. “It’s like you’re watching someone else play video games.”

Instead, she and Yasi Salek, host of the hit podcast “Bandsplain,” spend the evening riffing on literature, coolness, autism diagnoses and a literary perennial: unrelenting pain.

“How is your mother wound?” Salek asks in her signature vocal fry most often heard ad-libbing about the band Weezer. Salek reveals she is in Jungian therapy, adding, “What Carl says, goes.”

Throughout the discussion, Choi describes her novel as a challenging read — calling it a “gross, decaying meat soup.” She jokes that her career as an author feels like a “Make-A-Wish Foundation wish,” bewildered by any attention her work has garnered. Yet dozens of eager readers have packed into the independent bookstore, spilling into the aisles with copies of the novel balanced on their laps.

“Publishing is so slow, it’s like giving birth to a lawn chair,” Choi remarks. Later, she professes tedium with the resurgence of an alt-lit scene.

“Don’t you find that everyone has to be cool right now? Why is everyone so cool?” Choi asks Salek.

Let’s be clear: Salek and Choi are very cool. Salek sits cross-legged, dressed in all black, with a heart tattoo on her forearm that reads “books.” Before “Pool House,” Choi authored three New York Times bestselling novels. Salek recounts dropping out of her MFA program at Bennington College in 2020 to start what would become a cult-classic podcast.

Book-themed sugar cookies sold at a past Little Literary Fair at Hauser & Wirth.

(Francine Orr / Los Angeles Times)

“I love that you started a podcast instead of getting an MFA,” Choi replies.

Like Skylight Books, independent bookstores across Los Angeles have become gathering places for readers and writers alike. Authors ranging from household names to debut novelists regularly draw enthusiastic crowds. Increasingly, bookstores are functioning not only as retail spaces but as community hubs.

A few blocks from Echo Park Lake, local favorite A Good Used Book has transformed Sunday mornings into one of the neighborhood’s liveliest recurring gatherings. Visitors browse used books while enjoying charcoal portraits, handmade jewelry and Hawaiian shaved ice. Buy a book and you might even end up on the store’s coveted Instagram Story — the hottest plug in town.

“It feels like in a city as big as Los Angeles, books are still underrepresented. So there’s a lot of room to grow, and that’s exciting,” says Chris Capizzi, who founded the bookstore in 2017.

Earlier this month, the Los Angeles Review of Books hosted its annual Little Literary Fair at SCI-Arc, drawing hundreds to literary panels and workshops on zine-making, publishing and finding an agent. Vendors from across California filled the space, representing independent presses, bookstores and literary magazines.

“I find writers based [in the L.A. area] to be socially incisive in equal measure as being experimental, innovative and just fun,” says Emily VanKoughnett, the events director at the Los Angeles Review of Books. “I love the L.A. lit scene because it invites people to explore pockets of the city and connect over writing.”

This summer, literary events across Los Angeles are continuing to draw readers into bookstores, community spaces and alternative venues alike. The city’s literary scene remains as weird, profane and sentimental as ever.

L.A. bars offer something for everyone. Want to sip amaro cocktails in a moody Echo Park bar? We’ve got the spot for you. Or maybe you prefer a beachside tiki haunt with frozen Dole Whip and crab rangoons. What about a sprawling West Hollywood rooftop overlooking the hills, or a destination for locally produced sake in Sawtelle Japantown? Much like the drinks that flow from these newly established institutions, the options are endless.

A neighborhood favorite dive relaunched in its former Echo Park location, while a new gastropub brings Korean bar culture to Highland Park. In West Hollywood, a karaoke lounge elevates the art with luxurious surroundings, and just next door, a lesbian-owned LGBTQ+ club debuted just in time for Pride Month. Tapas seemingly is taking the city by storm, with two Spanish cafes on opposite sides of the city offering pintxos and bocaditos alongside vermouth and Tempranillo wines.

Nonalcoholic options are more thoughtful than ever, presenting those of us who aren’t drinkers with smart and layered concoctions that prove just as complex as their boozy counterparts. In Los Feliz, a veteran bar team launched a cocktail destination that puts the focus on L.A.’s seasonal produce, and in Beverly Hills, a three-Michelin-starred chef is behind a stylish new restaurant and lounge in a luxury retail shop. Here are 23 of L.A.’s best new bars to visit this summer and beyond. — Danielle Dorsey

A federal judge has dismissed a lawsuit filed by the Trump administration that sought to block what it called L.A.’s “illegal” sanctuary city law.

In a weekend ruling, U.S. District Judge Fernando M. Olguin granted the city’s motion to dismiss the complaint, which alleged that the city ordinance violates the intergovernmental immunity doctrine by regulating and discriminating against the federal government.

Olguin ruled that the government’s allegations were “insufficient to establish that the Ordinance violates the intergovernmental immunity doctrine,” but granted the administration permission to file an amended complaint by July 3.

“The Ordinance does not directly regulate the federal government,” Olguin said in his ruling. “Rather, it ‘controls the actions of [the City’s] own agents and agencies.’”

The White House and the Department of Justice did not immediately respond to a request for comment.

Although the administration could refile its complaint, L.A.. City Atty. Hydee ‌Feldstein Soto celebrated the dismissal as a legal victory.

“This order reinforces the well-established principle that local governments have the authority to decide how to use their personnel and resources,” Feldstein Soto said in a statement.

The lawsuit, filed by the Trump administration in California’s Central District federal court last June, said the country is “facing a crisis of illegal immigration” and that its efforts to address it “are hindered by Sanctuary Cities such as the City of Los Angeles, which refuse to cooperate or share information, even when requested, with federal immigration authorities.”

The lawsuit came as immigration agents descended on Southern California, arresting thousands of immigrants and prompting protests across the region.

“The situation became so dire that the Federal Government deployed the California National Guard and United States Marines to quell the chaos,” the lawsuit states. “A direct confrontation with federal immigration authorities was the inevitable outcome of the Sanctuary City law.”

The law was proposed in early 2023, long before Trump’s election, but it was finalized in the wake of his victory in November 2024.

Under the ordinance, city employees and city property may not be used to “investigate, cite, arrest, hold, transfer or detain any person” for the purpose of immigration enforcement. An exception is made for law enforcement investigating serious offenses.

The ordinance bars city employees from seeking out information about an individual’s citizenship or immigration status unless it is needed to provide a city service. They also must treat data or information that can be used to trace a person’s citizenship or immigration status as confidential.

“The goal of this ordinance, and of LAPD’s immigration-related policies … is to encourage victims of and witnesses to crime to feel safe coming forward to seek help from LAPD regardless of their immigration status,” Feldstein Soto said in her statement. “It does not obstruct or impede lawful federal immigration enforcement operations.”

The government in its original filing said that Trump campaigned and won the 2024 presidential election on a platform of deporting “millions of illegal immigrants.” By enacting a sanctuary city ordinance, the City Council sought to “thwart the will of the American people regarding deportations,” the lawsuit states.

“The Supremacy Clause prohibits the City of Los Angeles and its officials from singling out the Federal Government for adverse treatment — as the challenged law and policies do — thereby discriminating against the Federal Government,” the lawsuit says.

Trump’s Department of Justice contends that L.A.’s sanctuary city ordinance goes much further than similar laws in other jurisdictions by “seeking to undermine the Federal Government’s immigration enforcement efforts.”

The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.

Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.

The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.

(Genaro Molina / Los Angeles Times)

Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.

This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.

Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.

(Carlin Stiehl / For The Times)

In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.

Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.

Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.

A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.

(Brian van der Brug / Los Angeles Times)

Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.

Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.

At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.

Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.

(Carlin Stiehl / For The Times)

Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.

A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.

Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.

The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.

(Carlin Stiehl / For The Times)

The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.

Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.

The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.

Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.

(Kayla Bartkowski / Los Angeles Times)

These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.

Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.

Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.

The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.

The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.

(Carlin Stiehl / For The Times)

Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.

It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.

The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?

The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.

There are few things a Los Angeles local is less likely to do than take a Hollywood sightseeing tour on a big, garish bus. Only rush-hour traffic and $20 tacos inspire the same level of dread.

Yet nearly everyone aboard the open-air bus for a Tuesday night production of “California Gothic: A Bus Tour” was an L.A. resident. The show, which is produced by the aggressively hip New Theater Hollywood, recently wrapped its third “season” after debuting in February and returning for an April encore. Set on a moving bus, the 1.5-hour-long experience is part esoteric Tinseltown history lesson, part immersive theater. The narrative conjures meaning from the Los Angeles cityscape by fusing a hodgepodge of textbook theories about the sprawling metropolis onto the gritty reality of daily life.

“We originally organized this thinking there would be more people coming who aren’t from here,” said Oliver Misraje, the show’s writer and primary tour guide, as the bus pulled away from the curb at Santa Monica and Wilcox. “But this just goes to show how much people love the city and are from here, contrary to popular belief.”

In lieu of celebrity-hungry tourists, “California Gothic” has been packing its bus twice a night with rowdy young scenesters and in-the-know locals eager to absorb its heady mix of California history, public intellectualism and performance artistry.

While the show wrapped its latest run in mid-June, it will reopen its automated doors during the last week of October for a special “ghost tour” edition co-written by Misraje and New York it girl Ruby McCollister.

The bus arrives for New Theater Hollywood’s “California Gothic: A Bus Tour.”

My tour was far less steeped in irony than I feared. As the bus wound its way through the streets of Hollywood, starting at the New Theater’s doorstep before eventually circling the Hollywood Walk of Fame, Misraje led the audience through his take on the death of the “California dream” and the rotting carcasses of empty buildings and broken promises left in its wake. Along the way, we encountered a haunted-eyed Marilyn Monroe impersonator (Brooks Ginnan), a masked Hollywood legend known as the Duchess of Argyle (Shauna Frente) and a singing, swaggering “Rat Czar” with a lot to say about real estate developers (Loren Kramar).

Yes, it’s whimsical, and yes, it references Mike Davis’ “City of Quartz” more than any of the TMZ-type excursions it gently parodies, but it’s still, at its heart, a bus tour.

In a nod to classic Hollywood tour advertisements, the show’s winkingly all-caps poster declares, “You Will See: The Hollywood Sign, Marilyn Monroe, the Schizo City State.” There is also a stash of BuzzBallz ready-to-drink cocktails for trivia winners, but Misraje and his cast do not deliver their performances with smirks or smarm. They commit full-throatedly to playing out Misraje’s vision of a Hollywood haunted by the dreamers it’s wronged and the secrets it’s plastered over.

“Ultimately, we are trying to pay homage to the bus tour format, which is intrinsically ‘carny,’” Misraje said, likening himself to a carnival barker espousing aesthetic philosophy aboard an ever-changing “Ship of Theseus.”

Before the performers infiltrate the ship, “I’m trying to intentionally set up audience expectations to think they’re going to get this run-of-the-mill Hollywood death tour,” he explained. “I consider myself a kind of impish person, but still fundamentally sincere.”

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1. Tour guide Oliver Misraje begins the show. 2. Rat Czar, portrayed by Loren Kramar, performs during the bus tour. 3. Guests board the bus.

Given the show’s monologue-heavy format and bevy of literary references, it’s no surprise that the concept began as an essay. Misraje, a 27-year-old writer and self-described “Hollywood hustler” raised primarily in the Inland Empire, was inspired after the 2025 Palisades and Eaton fires to stage a piece he had written bridging his love of Gothic literature with his “welfare class” upbringing in a family of seven raised by a single mother, which he considered gothic in its own right.

“We were in the Inland Empire and it was the 2008 financial crisis,” he said. “There was all this imagery of things famously California-coded, like the suburban house, the pool, the strip mall, and when we were there, it was just, like, destroyed. There were abandoned housing subdivisions rotting in the sun.”

The perfect setting, he explained, for the kind of “literature that emerges after the failure of a historical project.”

After reaching out to New Theater co-owner Calla Henkel and conceiving the project, Misraje and his producers elected to turn the funhouse mirror onto Hollywood, framing the neighborhood with historical context and Freudian theory but ultimately letting it speak for itself.

The bus passes the TCL Chinese Theatre.

The highly mutable nature of street life and the participatory character of the show means its tone can shift drastically from tour to tour, even within the same night. Sometimes, the streets appear glittering; other times, seedy and dangerous. Once, there was a showdown with another tour bus — one presumably not carrying theatergoers. At a different show, a drunk pedestrian tried to board the bus during faux-Monroe’s speech. One particularly harrowing night, someone circled the bus on an electric scooter, shouting homophobic slurs at the all-queer cast.

“It’s almost like surfing,” Misraje said. “There’s so much chaos you’re confronting, and you have to find a way to ride it and let it be a part of the show.”

The show’s high production costs make bringing in a profit difficult, but Misraje said he and the New Theater Hollywood team plan to revive it periodically, with an evolving story and cast of characters.

On my tour, no performer better represented the blurred line between theater and street life than the Duchess of Argyle, a.k.a. the Mysterious Masked Lady of Hollywoodland, a.k.a. Shauna Frente, a busty Blanche DuBois figure in an eyeless flapper mask and gartered stockings. Just three days before, she had been evicted from a home on Argyle Avenue that once allegedly belonged to Cecil B. DeMille. This happened after a lengthy legal battle, during which the show helped raise money for temporary housing.

As the Duchess spilled neighborhood secrets, our bus repeatedly passed an Extra Space Storage facility painted with images of old Hollywood behemoths: Lucille Ball, Groucho Marx and the like. The intermingling smells of sizzling hot dogs, urine and marijuana wafted through the open windows.

Hollywood may be ghostly, the Duchess told us, but it was hers to haunt.

Duchess of Argyle (Shauna Frente) tells Hollywood stories during the tour.

(Carlin Stiehl / For The Times)

A New Zealand expat and his Spanish wife, who share travel guides about Spain on YouTube, have named one city as their top destination

Perched on a narrow strip of land encircled by the Atlantic Ocean lies Cádiz, one of the oldest continuously inhabited cities in Western Europe, which one expat living in Spain is urging visitors to make time for. The capital of the Province of Cádiz, in the autonomous community of Andalusia, the city is over 3,000-years-old and dotted with remarkable ancient buildings gazing out over the breathtaking blue waters that surround it.

New Zealand expat James and his Spanish wife Yoly, who both reside in Spain, have made it their mission to help others experience Spain on a deeper level through the travel guides they share on their YouTube channel @spainrevealed. They spotlighted the magnificent city of Cádiz as their “number one place to visit” on any trip to Spain, reports the Express.

“You see this city deep in the southwest of Spain on this impossibly small spit of land is the most magical city in Spain according to me,” said James.

Indeed, the expat fell so deeply in love with the region that he has long dreamed of living there for a period. He even goes as far as suggesting it would be a “crime to visit Spain without seeing Cádiz”, a sentiment his wife Yoly wholeheartedly echoes, describing such an omission as “unforgivable”.

James places the city’s rich history at the very top of his list of favourite things about Cádiz, with traces of its remarkable past visible at virtually every corner.

“There’s almost a sense that Cádiz has so much history that it can’t keep up it can’t keep it in check and all of these historic buildings are being beaten by the weather that comes off the Atlantic so it’s a challenge to keep these buildings in a state of good repair,” he said.

“And for better or worse what that does mean is that these historic parts of Cádiz have this gritty authenticity to them.”

Centuries-old buildings and cobbled streets are dotted throughout the city’s various districts, known in Spain as barrios, including El Pópulo, La Viña, and Santa María. El Pópulo is the city’s most ancient quarter, situated at the gateway to the historical centre, nestled between the Town Hall and the Cathedral.

It is widely regarded as the true medieval heart of the city, with roots stretching back to the 13th century.

The promenade is another unmissable attraction, where visitors can stroll along and take in the city’s breathtaking scenery, including the shimmering golden dome of the cathedral.

The Cathedral itself ranks amongst the most iconic landmarks in Cádiz, blending baroque and neoclassical architectural styles. Visitors can even embark on tours to oft-overlooked sections of the cathedral, including its crypts.

Plaza de las Flores is a charming square flanked by an array of cafés serving up local delicacies such as churros and fried fish, while Mercado Central buzzes with stalls brimming with locally-sourced produce.

While the millennia-old heritage forms a significant part of the fabric of Cádiz, the city has also welcomed modernity, as evidenced by the contemporary Parador de Cádiz.

The hotel first opened its doors in 2013 and boasts a stunning outdoor swimming pool with Atlantic views as its backdrop.

Flights from London to Cádiz take around two hours and 45 minutes with the nearest airport to the city is Jerez. From there it takes 45 minutes to drive with flights starting from £67.

Democratic socialists are looking to extend their power in Los Angeles City Hall this fall with their biggest prizes yet: mayor and city attorney.

Mayoral candidate Nithya Raman and city attorney hopeful Marissa Roy, both members of the Los Angeles chapter of the Democratic Socialists of America, are heading into the Nov. 3 general election with strong showings in the June 2 primary as tailwinds.

If she prevails in November, Raman would join the ranks of democratic socialists leading big U.S. cities, including New York’s Zohran Mamdani and Seattle’s Katie Wilson. Washington, D.C., looks to be next: Janeese Lewis George won the Democratic primary for mayor there this month, all but ensuring her a general election win in that deep-blue city.

In Los Angeles, a democratic socialist mayor and city attorney could mean added clout because of an ideological lockstep between the two offices, said Fernando Guerra, a political science professor at Loyola Marymount University. In such a scenario, he said, the city attorney’s office is less likely to be a check against the mayor’s authority to set policy on issues such as land use and public safety.

“It’s incredibly substantive that the city attorney will interpret much of the policy that the mayor may push to be the right policy, and not challenge it,” Guerra said.

The election of Raman and Roy would also underscore the leftward tilt of Los Angeles, which has four City Council members, including Raman, who are DSA members — two of whom were reelected in the primary. City Controller Kenneth Mejia, who was recommended (although not formally endorsed) by DSA, was also reelected.

The DSA champions ideas sharply to the left of more establishment Democrats, such as incumbent L.A. Mayor Karen Bass. The L.A. DSA chapter, for example, says its objectives include abolishing prisons and defunding the police.

DSA-L.A. co-chair Sean Wakasa said his organization is thriving in L.A. and across the country because it has destigmatized the concept of socialism.

“Democratic socialism ultimately, at the end of the day, is about making the politics that working-class Americans can see themselves in,” Wakasa said.

In Los Angeles, Wakasa said, a DSA mayor would be expected to build more public transit, strengthen protections for renters, fight for workers’ rights, raise the minimum wage and defend local immigrants from the federal government.

The city attorney, he said, would be expected to defend working-class Angelenos by enforcing renter protections, resolving wage-theft issues and enforcing sanctuary city policies.

Business groups and public safety advocates have voiced concerns over the prospects of DSA members calling the shots at City Hall.

“They would run roughshod over the city,” said Stuart Waldman, president of the Valley Industry and Commerce Assn. He said Raman and Roy “don’t just drink the DSA Kool-Aid, they live it.”

Waldman said he would expect Los Angeles under democratic socialist leadership to adopt overzealous tenant protection policies that would discourage new rental development. He said they would also seek to weaken the police, leading to a “free-for-all for crime.”

“They would run business out,” Waldman said.

Roy, who has promised to turn the city attorney’s office into “the largest public interest law firm in the city,” targeting wage theft, tenant harassment and other issues, disputed Waldman’s assertion.

“Allowing corporate bad actors to violate our laws doesn’t make L.A. safer or more affordable — enforcing protections for renters, workers, and consumers does,” Roy said in a statement.

Raman said in a statement that she shares “DSA’s commitment to fighting for working people and those who have been left behind by a political system that too often serves powerful interests instead of everyday Angelenos.”

But she also said “there is no liberal or conservative way to fill a pothole.”

“I’ve always believed the most progressive thing you can do is actually make government deliver,” Raman said. “Every time City Hall fails to do that— potholes that don’t get fixed, streetlights that stay dark, 911 calls that go unanswered — it erodes people’s faith that government can solve problems at all.”

Rick Cole, a former deputy mayor of L.A., said the DSA label for both candidates doesn’t mean they’ll adhere to the most dramatized versions of what DSA stands for. Neither candidate is an ideologue, he said.

Raman’s membership in DSA “is a signifier she’s going to be more skeptical of current policing,” said Cole, a Pasadena City Council member. “She’s going to be more focused on affordable housing. She’s going to be more focused on a humane approach to getting people off the streets.”

A poll by the UC Berkeley Institute of Governmental Studies that was co-sponsored by The Times showed that in a head-to-head runoff, Raman was supported by 32% of the registered voters polled, compared with 28% for Bass.

Bass finished first in the primary, ahead of Raman, with former reality TV personality Spencer Pratt finishing in third place.

With Pratt now out, the race is on for both campaigns to appeal to his voters, who are generally considered more conservative. Even so, the Bass campaign said it doesn’t plan to focus on Raman’s DSA affiliation.

“What’s important isn’t labels — it’s what her [Raman’s] record shows, and that’s voting over and over and over to allow encampments near schools and to shrink our police force. It goes against what L.A. needs and what most of L.A. believes,” Bass campaign spokesperson Alex Stack said in a statement.

Raman, who was twice elected to the City Council with DSA support, has voted against additional police hiring and spending and creating new anti-encampment zones around the city.

One irony is that the three other members of the DSA on the City Council — Eunisses Hernandez, Ysabel Jurado and Hugo Soto-Martínez — have all endorsed Bass, citing the mayor’s fierce resistance to the Trump administration’s immigration raids last year, among other factors.

In the primary, DSA’s L.A. chapter recommended Raman but didn’t endorse her, with the distinction being that an endorsement comes with active canvassing and support from DSA members. DSA-LA co-chair Leslie Chang said it wasn’t yet clear whether her group would endorse Raman in the runoff.

A DSA endorsement for Raman now might be a mixed blessing, given that Pratt’s support came from more conservative parts of the city, said Christian Grose, a political science professor at USC.

“Karen Bass is not popular with Pratt voters, and the DSA is not popular with Pratt voters, but that’s who will decide the mayor’s election,” he said.

Roy, a deputy state attorney general, finished first in the city attorney primary by a wide margin and will compete against John McKinney, a deputy district attorney, in the runoff.

McKinney said electing Roy to the city attorney’s office would be like “going back in time” to when George Gascón was the top prosecutor in Los Angeles County, which police and prosecutors said was a disaster for public safety.

In the recent City Council primaries, DSA-endorsed incumbents Hernandez and Soto-Martinez both won reelection easily, while DSA-endorsed Faizah Malik failed to push incumbent Traci Park into a runoff in her Westside district.

In the Council District 9 race, DSA-endorsed community organizer Estuardo Mazariegos will be in a runoff with Jose Ugarte, a former aide to termed-out incumbent Curren Price.

DSA leaders are pleased overall with how their candidates have performed.

“DSA has really claimed a foothold for ourselves in L.A. County politics,” Chang said.

New Angel City FC midfielder Ally Sentnor said she believes the team can break out of its slump and win during her introduction to the fans.

“Angel City has so many tools and opportunities at their disposal and it’s right there,” Sentnor said during a season-ticket holder party Saturday. “And it’s just pushing over the edge of just little things that are gonna make this team a constant top-of-the-table contender.”

Angel City traded for Sentnor, bringing her to her third National Women’s Soccer League team. Sentnor was selected by the Utah Royals with the first pick in the 2024 draft. She was acquired by the Kansas City Current in August 2025 and helped them finish atop the table.

This season, she has started 12 league matches, earning two goals and two assists.

U.S. midfielder Ally Sentnor and Japan defender Moeka Minami go up for the ball during a friendly on April 14 in Seattle.

(Lindsey Wasson / Associated Press)

“This is an important moment for our team and we are very excited to welcome Ally to Los Angeles,” Angel City sporting director Mark Parsons said. “Ally is one of the world’s top young talents, has senior U.S. women’s national team experience and has built up important minutes in the NWSL.”

She arrived the same week Angel City sent midfielder Kennedy Fuller to Bay FC and fired coach Alexander Straus. The team went on a 1-6-1 slide before the World Cup break and sits in 12th place in the 16-team league.

Parsons said it was important to make the coaching change with 19 games remaining and a chance to move up the standings. Assistant Leif Gunnar Smerud was named interim coach while the team searches for Straus’ replacement.

“We’d been really clear over the last 12 months when we made the hire that this is a team heading in a direction to be able to make the playoffs,” Parsons said, noting the coach has to be able to continue to develop players and put them in position to succeed.

Sentnor hopes to add a new layer to the team, making a difference on and off the field.

“Most of the team style speaks for itself on the field, and all these girls are absolutely incredible and I’m excited to go in those relationships,” Sentnor said. “The energetic, passionate style of play is something really exciting.”

Sentnor, 22, brings experience to the Angel City roster at a relatively young age. She grew up in the national team system since age 12. She recalled traveling from Massachusetts to Colorado to attend camps and take the next steps in her career.

She has 22 appearances with the national team, recording seven goals and three assists.

The Massachusetts native hasn’t lived on the East Coast in years and has enjoyed traveling the country. She’s looking forward to the weather in California.

“It’s so fun for me to be able to try out different cities across the United States and immerse myself in different cultures,” Sentnor said.

She said her family attends many of her games, helping her feel comfortable anywhere she plays.

“Home is where the people are, so when my family travels and comes out here, it feels like home. So wherever my people are is where home is,” Sentnor said.

Instead of the usual phalanx of cars and buses, Saturday evening traffic on Wilshire Boulevard was replaced by massive balloons, mobile sculptures, gaggles of gallerists and an endless array of elaborate costumes.

The first-ever Los Angeles Art Parade, a collaboration between the Los Angeles County Museum of Art (LACMA) and famed gallerist Jeffrey Deitch, transformed the stretch of Wilshire known as Museum Row into a human-powered exhibition of the city’s dynamic art scene.

About 146 groups, made up of more than 1,400 participants, marched in the parade, with projects ranging from larger-than-life marionette dolls to squads of children in do-it-yourself costumes to mobile re-creations of LACMA’s most iconic art pieces.

The parade followed an all-day block party thrown by LACMA as part of its Grand Opening Weekend, celebrating the new David Geffen Galleries and the completion of the 20-year-long, $724-million campus construction project. Together, the block party and art parade attracted an estimated 60,000 attendees, who swarmed the galleries, danced to explosive DJ sets, and lined the streets to watch the eclectic procession of artists.

People dance during Flying Lotus’ DJ set at the Los Angeles County Museum of Art (LACMA) in Los Angeles.

(Ariana Drehsler/For The Times)

According to LACMA Director and Chief Executive Michael Govan, the event was a long time coming and “just the beginning” of how his team plans to use the campus space, which he previously called the city’s “living room.”

“We’re not gonna close Wilshire every weekend, but it’s an example of what we can do,” Govan said. “It’s really exciting to see the building work.”

Following a crowd-drawing DJ set from electronic low-fi hip-hop artist Flying Lotus, Govan introduced L.A. County District 2 Supervisor Holly J. Mitchell. She said the event made her “proud to represent LACMA” and to be a Metro board member, referencing the recently-opened Metro D-line extension, which dropped attendees off a quick stroll from LACMA’s entrance.

“Just seeing you all at this amazing public facility does my heart good,” she said. “This is your local government at work.”

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1. Silhouettes of people watching the parade. 2. A man and woman wearing tulle over them walk in the parade. 3. The crowd at the Los Angeles County Museum of History, Science, and Art (LACMA) Block Party. (Ariana Drehsler/For The Times)

As the party raged on LACMA’s campus, hundreds of parade participants hurriedly prepared for their debuts in the corners of nearby streets and parking lots. One group inflated a giant disco ball, while another smeared themselves with body paint next to a line of rehearsing dancers. Elsewhere, a megaphone-wielding leader herded dozens of black cats in the style of artist Gary Baseman into some semblance of order.

Deitch originally staged the first Art Parades in New York City’s SoHo neighborhood between 2005 and 2008. While those took a more art-world-exclusive approach, Deitch said the Los Angeles version was designed with inclusion in mind. The call for parade proposals was open to “emerging and established artists and creatives of all ages and backgrounds,” according to guidelines, as long as the work was appropriate for all ages and didn’t require a motorized element.

“The New York one was much more oriented toward people in the art community. We didn’t put out this kind of open call,” Deitch explained. “This is very different in its openness and its diversity. There are some famous artists and famous choreographers, L.A. legends. But there are also mothers from the San Fernando Valley with their children. I really love that.”

Artist Jordan Rountree’s rolling woodcut-sculpture called the Devil Jack in a Box with Crocodile appeared in Saturday’s Block Party and Art Parade hosted by the Los Angeles County Museum of Art’s (LACMA).

(Ariana Drehsler/For The Times)

“It’s just a very open platform, so you don’t have to have an M.F.A. to express yourself as an artist,” he added.

The procession was dizzying in its variety and scale. While many projects leaned into beauty and whimsy, others took a more overtly political approach, displaying anti-ICE messages on T-shirts and signs, sporting trans pride flags, or, in the case of performance artist Amy Kaps, wearing an unraveling U.S. constitution.

Some even referenced local causes, such as the “Boo Boo Bandage Brigade for Safe Streets,” which advocated for fixing sidewalks and increasing accessibility downtown. One particularly moving display by the Pali-Altadena Collective featured participants carrying miniature models of buildings and landmarks lost in the 2025 fires.

Chicana artist Nao Bustamante and Track 16 Gallery brought “Brown Disco” to the streets, which featured a giant gold disco ball and figures from decades of L.A. queer nightlife.

The crowd at the Los Angeles County Museum of Art (LACMA) Art Parade.

(Ariana Drehsler/For The Times)

“As a brown, queer person, I think that this really brought a light into our community, and now its presence [creates] an intergenerational conversation,” said Track 16 Assistant Director Steve Galindo. “The nightlife scene is how we come out as queer people, so it’s really special to be in the parade.”

For Joie Mitchell, volunteer coordinator for the Bob Baker Marionette Theater, which recently purchased its permanent Highland Park home, the parade was an opportunity to “show up for L.A. and be involved in the art history of this city.”

“Puppetry has been part of the arts for so many years,” added Daisy Hernandez, the theater’s production manager. “It’s a way that people express themselves, just like every other art form. So that’s what we’re here to do: express ourselves through puppetry.”