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When Liz Wilson saw the Eaton fire advancing, from her home in Pasadena last year, she knew that life would never be the same in her corner of Southern California. On Wednesday, the one-year anniversary of the disaster, A Concert for Altadena felt like the most optimistic place to be.

“People didn’t just lose their homes, they lost their community,” Wilson said, in the lobby of the Pasadena Civic Auditorium where scores of local acts had gathered for the benefit show. Organizers booked it to raise funds for the Altadena Builds Back Foundation, and to give locals something hopeful to attend on the painful day of Jan. 7.

“This is not just a fundraiser, but a way to reconnect and show support for community that’s surviving,” she said. “Altadena was and is an arts community, that’s a big part of it. We have so many friends and neighbors continuing to figure out if they’re coming back, if they’re able to rebuild. The more distant you get from it, you may forget. But we haven’t.”

The anniversary of the Eaton and Palisades fires, beginning one of the city’s most difficult years in recent history, was largely marked by quieter reflections on the loss and how much work still laid ahead. But Altadena in particular was a historic community for musicians and artists. For them, getting together for a show felt like a natural way to honor the occasion and look ahead.

Kevin Lyman, the Vans Warped Tour founder and USC music industry professor, is a two-decade Altadena resident who was displaced from his home for four months after the Eaton fire. He organized the concert for the community to use the day to reconnect, and keep focus on the work left to do.

“In this business, I’ve got to be an optimist, and every day I see more trucks coming into Altadena with lumber and workers. You go away for a few days and see a frame of a new home. But then you go to the next block, and there are five empty lots,” he said.

“One of the hardest parts is that if you’re living up there, you can go two miles away and life just goes on,” he added. “You’ve got to remind people that we’re still here, people still can still use help. Artists that survived and reestablished themselves are here supporting artists that haven’t been.”

Altadena resident and actor John C. Reilly hosted the night, noting the resilience of rebuilding efforts and tossing barbs at the utility company Southern California Edison, whose equipment ignited the fire: “A company that prioritized profits for shareholders over improving infrastructure,” as he put it. He pilloried President Trump’s reactions to the blaze: “He told us to go rake leaves? Go f— yourself, dude.”

The night highlighted ground-level activism from organizers like Heavenly Hughes of My Tribe Rise, who led the crowd in a raucous chant of “Altadena’s not for sale.” But the live performances found poignancy in the city’s spirit as a music town. L.A. Latin rock group Ozomatli started the night with a jubilant jam down the aisles, while Everclear’s Art Alexakis noted between riffs that after the Eaton fire displaced him, “I had to live in a hotel for five months, but I’m lucky.”

Travis Cooper drove down from Northern California for the show, moved by the ways Altadena held to its cultural identity after the Eaton fire. His parents lost a home in a fire in Redding a few years back, so “I can relate to how devastating that feels,” he said. “Even the threat of it growing up was horrific, so to have that actually happen was another level. But my parents had people donate clothes, places to stay, and that meant a lot to them, so we wanted to come support this community too.”

The headline act of the night was the Altadena folk-rock group Dawes, whose founders lost homes and gear in the Eaton fire. They’ve become emissaries for the neighborhood within the music industry, performing at last year’s Grammys just weeks after the fire.

At the Pasadena Civic Auditorium, they led a round robin of acts including Brad Paisley, the Killers’ Brandon Flowers, Aloe Blacc, Jenny Lewis and Rufus Wainwright. They were accompanied by vocal virtuosos Lucius and blues-rock rippers Judith Hill and Eric Krasno, each fixtures in the local music community trying to rebuild itself in the wake of the Eaton fire.

Altadena is a deeply intergenerational community, and the crowd felt the decades of L.A. music history in Stephen Stills coming out for Buffalo Springfield’s “For What It’s Worth” next to a younger act like Lord Huron covering the Kinks’ “Strangers.”

Dawes is a veteran L.A. act, and songs like “All Your Favorite Bands” had new texture in the light of how the fire upended the lives of so many artists. “I hope the world sees the same person that you always were to me,” Taylor Goldsmith sang. “May all your favorite bands stay together.”

For those bands still trying to stay together, the night was redemptive. Jeffrey Paradise, the Poolside frontman who lost his home in the Palisades fire, DJed the concert’s official after-party. He’s since relocated to Glassell Park, and acknowledged that the fires are still a challenging topic, for him and for friends trying to support those displaced.

“It’s hard to talk about because so many things are mixed up in it,” he said. “It was the worst year of my life, but also great and heartwarming to see support from people. It’s so hard to answer how you’re doing because I don’t have an easy answer,” he said.

A concert like this was one way to acknowledge the gravity of last year’s loss, but also to raise money to help everyone get back to the land, people and music they love.

“It’s a disaster, and we’re getting through a disaster. I want to be resilient and help others, and do what I can to move forward,” he said. “It forces you to reinvent who you are and redefine what matters. I don’t have an option not to.”

Nathan Aspinall became the latest seed to fall at the PDC World Championship, but 20-year-old Charlie Manby continued his dream run by reaching the last 16.

Aspinall, who reached the semi-finals in 2019 and 2020, lost 4-3 in a final-set thriller against the Netherlands’ Kevin Doets.

The 15th seed won the first and third sets, but was pegged back on both occasions, only to seize control again with a stunning 170 checkout to claim the fifth set.

However, from there, Doets took over, reeling off sixth consecutive legs to seal a sixth straight win over Aspinall and set up a last-16 tie against world number two Luke Humphries on Tuesday.

Manby, who is playing in the tournament for the first time, overcame Ricky Evans 4-2.

The bricklayer from Huddersfield struggled on his doubles early on, taking out just four of 30 attempts in the first three sets as he went 2-1 down.

Scoring was never an issue though and his accuracy on the checkouts improved, alongside a drop-off from Evans, as he sealed a place in round four and a minimum £60,000 in prize money.

He will face the Netherlands’ Gian van Veen in the next round in what will be his toughest test so far, with the 10th seed having the tournament-high match average of 108.28 in his second-round win.

After the match, Evans posted on Facebook that he had received death threats as well as hate and fat jokes.

Another debutant also progressed with Somerset’s Justin Hood beating Ryan Meikle 4-1.

He raced into a 3-0 lead before Meikle pulled a set back but Hood sealed his place and said afterwards that he would not have to work in 2026 after also confirming at least £60,000 in prize money.

He has climbed to a provisional 63rd in the world rankings already and said post-match he still has aspirations to open a Chinese restaurant one day.

He will face 11th seed Josh Rock in the last 16, after the Northern Irishman overcame Callan Rydz 4-2 in the final third-round tie.

Rydz was emotional throughout following the death of his grandfather since his previous match.

Under the glow of fluorescent lights at Seafood City market in North Hills, packages of pre-made adobo, salted shrimp fry and and dried anchovies glisten in meat coolers.

A DJ, dressed in a traditional barong, blasts a dance remix of Whitney Houston’s “I Wanna Dance with Somebody” as a crowd gathers to take a shot of fish sauce together.

“That was disgusting!” a man shouts into the mic, flashing a grimacing expression.

At Seafood City, DJs 1OAK, left, EVER ED-E and AYMO spin in barongs, the Philippines’ national formal shirt.

The smells of lechon and lumpia float through the air. Smiling children munch on halo-halo (a Philippine dessert made with ube ice cream, leche flan and shaved ice). Flags of the Philippines wave in the air as a man in UCLA Health scrubs hops into the center of an energetic dance circle. Employees shoot store coupons out of a money gun and toss bags of Leslie’s Clover Chips into the crowd. Fathers hold their children on their shoulders as a group of college students perform a Tinikling routine, a traditional Philippine dance in which performers step and hop over and between bamboo poles.

“This is so Filipino,” a woman says, in awe of the scene.

Sabria Joaquin, 26, of Los Angeles, left, and Kayla Covington, 19, of Rancho Cucamonga hit the dance floor at “Late Night Madness” in North Hills.

“I came here for groceries,” explains an elderly man, adding that he decided to stay for the party.

Seafood City, the largest Philippine grocery store chain in North America, typically closes at 9 p.m. But on certain Friday and Saturday nights, its produce or seafood aisle turns into a lively dance floor for “Late Night Madness.” On social media, where the gathering has exploded, it looks like a multigenerational nightclub that could use dimmer lighting. But for attendees who frequent the store, it’s more than that. It’s a space for them to celebrate their Filipino heritage through food, music and dance in a familiar setting.

“This is something that you would never expect to happen — it’s a grocery store,” says Renson Blanco, one of five DJs spinning that night. He grew up going to the store with his family. “My mom would [put] us all in the minivan and come here, and she’d let us run free,” he adds. “It’s comfortable here. It’s safe here.”

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1. Rhianne Alimboyoguen, 23, of Los Angeles follows an employee through the produce section. 2. Allison Dove, 29, left, and Andrea Edoria, 33, both of Pasadena, enjoy Philippine street food. 3. Katie Nacino, 20, left, Daniel Adrayan, 21, and Sean Espiritu, 21, of the Filipino American Student Assn. at Cal State Northridge, practice tinikling, a traditional Philippine folk dance, in an aisle.

The first Seafood City location opened in 1989 in National City, a suburb of San Diego, which has a nearly 20% Asian population including a rich Filipino community. For its founders, the Go family, the mission was simple: to provide a market where Filipinos and people within the diaspora could comfortably speak their native language and buy familiar products. It’s since become a community anchor. Of the nearly 40 locations in Northern America, at least half of them are based in California, which has the highest population of Asian Americans in the United States.

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The first “Late Night Madness” event happened in September in Daly City, Seafood City’s newest location. The company wanted to launch a street food program at the store’s food hall in a fun and creative way.

The DJ played a selection of hip-hop, pop, soul and classic Pinoy records like VST & Company’s “Awitin Mo, Isasayaw Ko.” Hundreds of people showed up, and videos of people of all ages turning up in the popular supermarket spread like wildfire. So the company decided to continue hosting the event in October during Filipino American History Month and for the rest of the year. It’s since expanded to more locations around the country and in L.A., including Eagle Rock.

By 10 p.m. at the Seafood City in North Hills, at least 500 people are dancing in the produce section, next to rows of saba bananas, fresh taro leaves and bok choy. The lively crowd forms dance circles throughout the night, taking turns jumping in the center to show off their moves to songs like Earth, Wind & Fire’s “Let’s Groove,” “Nokia” by Drake and Justin Bieber’s “I Just Need Somebody to Love.” At one point, TikToker and artist Adamn Killa hops on the mic and says “If you a Filipino baddie, this is for you,” before doing his viral dance.

Among the Philippine street food offerings were pandesal sliders, lumpia-style nachos, lobster balls and various skewers.

A group of employees dance behind the counter as they serve hungry patrons who fill their trays with various Filipino street food including pandesal sliders (soft Philippine bread filled with adobo, lechon or longganisa) and Lumpia Overload (think nachos, but a bed of lumpia instead of tortilla chips), lobster balls and barbecue chicken skewers. (No alcohol is served.) Meanwhile, a few lone shoppers sprinkle into the store to get their weekly groceries as music blasts through the speakers.

First-generation Filipino American Andrea Edoria of Pasadena says “Late Night Madness” reminded her of the family parties she attended as a child in L.A. and in Manila, where her parents are from.

“Growing up as a child of immigrants, I was kind of self conscious about displaying too much of my culture,” she says between bites of spiral fried potato. She went to the Eagle Rock event with her mother last month as well. “So it kind of fed my inner child to see so many people celebrating this shared culture and experience that we each grew up [with].”

A multi-generational crowd is drawn to the dance floor. At center is Jade Cavan, 44, of Chatsworth.

Members of the Filipino American Student Assn. at Cal State Northridge perform a tinikling performance.

She adds, “I think it’s so important especially now at a time where our country is so divisive and culture is kind of being weaponized, I think it’s a beautiful reminder that we can come together and find something that unites us.”

About 10 minutes before midnight, the grocery store is still bustling with activity. A dance battle breaks out and people begin hyping up the young women. The DJ transitions into slower tracks like Beyoncé’s “Love on Top” and Mariah Carey’s “All I Want for Christmas is You.” The remaining folks sing along loudly as they walk toward the exit, smiles imprinted on their faces. Staff rush to clean up, then huddle together for group photos to memorialize the evening.

After the final song is played, employees rush to clean up the supermarket.

Patrick Bernardo, 34, of Van Nuys looks at the counter, where a man had been chopping lechon, before stepping outside.

“There’s barely anything left on that pig,” he says, pointing to it as proof that the night was a success.

Footage shows security forces dispersing crowds with tear gas at rallies for Ugandan presidential candidate Robert Kyagulanyi, also known as Bobi Wine, in Kampala. The pop star-turned-politician is campaigning ahead of Uganda’s January 2026 elections, as officials warn against interference.

Only a few years ago, Keith Lee was a professional MMA fighter, doing food delivery and making social media videos to ease his social anxiety.

On Thursday night, however, Lee found himself under the glare of bright lights and walking the red carpet outside the historic Hollywood Palladium on Sunset Boulevard about to be recognized as TikTok’s “Creator of the Year.”

He and hundreds of other creators had gathered for TikTok’s first American awards show. And they had good reason to celebrate.

Only a few minutes before the start of the inaugural show, they got word about a deal that would allow TikTok to keep operating in the U.S. through a joint venture controlled by a group of U.S. investors that includes tech giant Oracle Corp. TikTok confirmed the deal in an email to employees and said it is expected to close next month.

“[TikTok] is the best way to reach people and I know so many people who rely on it to support their families,” said Lee, who has 17.3 million followers of his casual restaurant reviews. “For me, it’s my career now so I can’t imagine it not being around.”

Creators — many of whom are based in Southern California — rely on the app as a key source of income, while businesses and brands turn to the platform and its influencers to promote their products.

Many had worried that the app might disappear after the Supreme Court upheld a ban on the platform because of national security concerns raised by President Trump in 2020.

Trump subsequently allowed TikTok, which has offices in Culver City, to keep operating in the U.S. and in September signed an executive order outlining the new joint venture.

Comedy creator Adam W., who attended the awards show, called the news “game changing.”

With 22.6 million followers on TikTok, Adam W. has amassed a massive audience for his videos that parody pop culture trends.

In one, he’s a contestant on “The Bachelor,” surrounded by a line of lookalike blond models; in another, he’s drinking matcha lattes with Will Smith.

“That’s so good to hear,” said Adam W. of the new ownership. “So many people are able to make careers off of TikTok. There’s so many people out there who go to TikTok to get away from their reality and it means a lot to them, so I think it’s really valuable for us to have.”

TikTok said the awards show is intended to celebrate the influencers who’ve helped transform the app into a global force that has shaped the way younger Americans shop and consume entertainment.

“You represent a truly global community of over 1 billion people on TikTok,” Kim Farrell, the app’s global head of creators, said at the event. “This year, you showed the world just how much impact creators have.”

Despite the historic moment, the awards show was not without technical glitches. Screens that were intended to display clips of contestants and visuals during speeches were dark the entire night.

The two-hour show, in which creators received awards in several categories, featured a range of skits parodying TikTok cultural moments, from Jools Lebron telling the crowd to “be demure,” to Rei Ami of K-Pop Demon Hunters shooting a Labubu cannon into the crowd.

“TikTok definitely changed my life,” Lee said in an interview. “I always planned my life around food, so I’m blessed to just turn the camera on and do the same thing.”

The new ownership of TikTok should allow the app to rebound after it lost market share amid uncertainty over its future, said Max Willens, an analyst at EMarketer.

“This past year, because a lot of advertisers weren’t really sure whether TikTok was going to stay or go, it did kind of slow the momentum that we had seen on that platform,” Willens said. “We think that moving forward that is going to wind up just being a blip.”