L.A

Covered marquees. Downed statues. Painted-over murals. A canceled holiday.

California has effectively exorcised César Chávez from the public sphere just weeks after a New York Times investigation found two women who said the legendary labor leader sexually assaulted them when they were teenage girls in the 1970s. Just as explosive was the revelation by his longtime lieutenant, Dolores Huerta, that he raped her in the 1960s.

My prediction for the next place we’ll see a Chávez purge: books about him, which number into the dozens and span from academic treatises to children’s tales. But before critics relegate those texts to the banned section, folks should read some of them to see how writers helped establish the Chávez myth and propagated it for decades.

The books that created the Chávez legend

The tendency to elevate him above other activists was there from the start. In 1967, John Gregory Dunne published “Delano: The Story of the California Grape Strike,” which saw the author (and husband to Joan Didion) capture the essence of el movimiento in its earliest days through on-the-ground reporting and interviews with Chávez, whom Dunne described in the introduction as “the right man at the right place at what was, sadly, both the right and the wrong time.”

Famed writer Peter Matthiessen cemented Chávez’s image as a humble hero fighting a lone, brave battle against philistine farmers with a two-part New Yorker profile that became the basis for 1969s “Sal Si Puedes: Cesar Chavez and the New American Revolution.” That narrative continued with Jacques Levy’s 1975 release “Cesar Chavez: Autobiography of La Causa.” Talk about getting too close to the subject: The author’s archived papers disclosed he served as Chávez’s literal notetaker during the 1970 negotiations that ended the grape strike and led to the UFW’s first union contracts.

Chávez came under strong scrutiny

Rose-tinted biographies tellingly stopped around the time Chávez created a commune in what’s now currently the César E. Chávez National Monument in Keene and began to target perceived enemies within the UFW. Critics instead appeared in the media — one of the first was a 1979 Reason article that alleged he was misusing federal funds and contained the prescient line, “Many people will be reluctant to believe anything that could cast a shadow over this man.”

Other critical dispatches included pieces in the L.A. Times, Village Voice and one in the Sacramento Bee so damning in its indictment of how Chávez had, on his own, sabotaged the movement so many associated with him that its author, Marcos Breton, recently wrote how Chávez was left “hostile and angry” by his simple questions.

In the wake of Chávez’s decline and eventual death in 1993, authors created a new genre: Saint César. Titles like “Cesar Chavez and the Common Sense of Nonviolence,” “Conquering Goliath: Cesar Chavez at the Beginning” (by his mentor, Fred Ross Sr., the most important California organizer you’ve never heard of) and “The Rhetorical Career of César Chávez” pushed forth the gospel of their subject as a plainspoken prophet out of the Good Book.

Chávez inspired millions — but those books will now forever read as hollow and sadly myopic.

Rethinking the Chávez myth

True reappraisals of Chávez and his work wouldn’t start until after former Times editor and reporter Miriam Pawel published a 2006 series for this paper that showed the ugly, domineering side of Chávez and the UFW’s decline. Six years later, longtime activist Frank Bardacke simultaneously praised and damned Chávez in his “Trampling Out the Vintage: Cesar Chavez and the Two Souls of the United Farm Workers.” Though a good read, it pales in importance and poignant lyricism to two double whammies that dropped in 2014: “From the Jaws of Victory The Triumph and Tragedy of Cesar Chavez and the Farm Worker Movement” by Dartmouth College professor (and my distant cousin!) Matthew Garcia and Pawel’s own “The Crusades of Cesar Chavez: A Biography.”

Garcia and Pawel are now making media appearances and writing essays to opine on where they think Chávez went wrong. Expect updates to all of these books and so many others in the months and years to come — if they’re ever published again.

Today’s top stories

Red diamond rattlesnakes are among species in the Golden State. One reptile expert who relocates snakes says her phone has been “ringing off the hook.”

(Christina House/Los Angeles Times)

Weird rattlesnake season

• Unseasonably warm March weather triggered an unusually active rattlesnake season in California, with experts fielding record calls about sightings statewide.
• Two fatal bites in Southern California in March and 77 Poison Control calls in three months far exceed typical annual patterns.

Life after California

• A new UC Berkeley study found that people who moved out of California dramatically improved their financial conditions.
• Those former Californians said the move saved them almost $700 in monthly housing costs, and they became 48% more likely to own a home in their new state.

Minimal snow in California mountains

More big stories

Commentary and opinions

This morning’s must read

Other great reads

For your downtime

(Stella Kalinina / For The Times; Bill Addison / Los Angeles Times; Stephanie Breijo / Los Angeles Times; Kayla Bartkowski / Los Angeles Times)

Going out

Staying in

A question for you: How are you celebrating Easter this year?

Email us at essentialcalifornia@latimes.com, and your response might appear in the newsletter this week.

And finally … the photo of the day

Dodgers pitcher Shohei Ohtani delivers during the second inning of a 4-1 win over the Cleveland Guardians at Dodger Stadium on Tuesday night.

(Ronaldo Bolaños/Los Angeles Times)

Today’s great photo is from Times photographer Ronaldo Bolaños at Tuesday night’s Dodgers’ game. Shohei Ohtani battled through the rain to throw a one-hit gem in the Dodgers’ 4-1 win over the Cleveland Guardians.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor
Kevinisha Walker, multiplatform editor
Andrew Campa, weekend reporter
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com.

City Councilmember Nithya Raman came out ahead of incumbent Karen Bass in a new poll on the Los Angeles mayor’s race, though the poll’s director cautioned that it did not give the whole picture.

Raman had a commanding lead in a field of five major candidates, with 33% of voters supporting her, while Bass trailed at 17%, according to the poll by the Loyola Marymount University Center for the Study of Los Angeles.

Leftist Rae Huang came in just behind Bass at nearly 17%, while tech executive Adam Miller had 13% and conservative reality TV star Spencer Pratt had 12%.

Other polls have shown Bass in first place.

She was at 20% in an Emerson College Polling/Inside California Politics poll, with Raman at just over 9%. In a UC Berkeley Institute of Governmental Studies poll, co-sponsored by The Times, Bass was at 25% and Raman at 17%.

In the Loyola Marymount poll, unlike the other polls, respondents were given brief descriptions of the candidates, including their occupations and political priorities.

Raman was labeled a “progressive LA City Councilmember focused on housing affordability, homelessness and systemic reform,” while Bass was “incumbent mayor of Los Angeles, veteran legislator, focused on homelessness.”

One of Raman’s challenges, as a councilmember representing Los Feliz and Silver Lake as well as parts of the San Fernando Valley, is to spread her name recognition citywide, with the June 2 primary election about two months away. She entered the race to challenge Bass, her one-time ally, at the last minute, hours before the early February filing deadline.

The Loyola Marymount poll of 370 registered Los Angeles voters was conducted from Feb. 11 to March 16. It did not include a choice for “undecided,” while the other two polls showed that significant percentages of voters hadn’t made up their minds.

“This poll shows if only positive descriptors are used and context is provided, Raman is ahead,” said Fernando Guerra, director of Loyola Marymount’s Center for the Study of Los Angeles, who directed the poll.

Guerra said he believes Bass is the front-runner, taking the previous polls into account.

Bass’ campaign took issue with the Loyola Marymount poll.

“In 2022, this same LMU poll had Karen Bass at 16% — she ended up winning the primary with 43%. The only thing more ridiculous than this poll is Spencer Pratt’s performance on The Hills,” said Alex Stack, a spokesperson for the Bass campaign, referencing Pratt’s reality show.

Raman’s campaign did not immediately respond to a request for comment. In a post on X citing the poll, Raman wrote, “OUR CAMPAIGN IS SURGING … Angelenos are ready for a city that actually works.”

Paul Mitchell, vice president of the bipartisan voter data firm Political Data Inc., said the poll’s sample size was too small to draw conclusions and that the poll was less reliable because it was conducted over the course of more than a month.

He also noted that with many of the candidates relatively unknown, including the descriptors could have a major effect.

“I’m sure Nithya Raman doesn’t have citywide name recognition, but that description is really great,” Mitchell said.

Guerra said he didn’t include an “undecided” option because he wanted to “force” respondents to give an answer, similar to when they actually vote.

In the Emerson poll, more than 50% of voters were undecided on who to support for mayor. The Berkeley IGS poll showed about a quarter of voters were undecided.

In LMU’s mayoral poll from 2022, released in early March of that year, 42% of respondents chose “undecided/someone else” for mayor.

After Bass, who had 16% support, then-City Councilmember Kevin de Léon was second at 12% in the 2022 poll. Rick Caruso, the billionaire developer, who ended up making the runoff election against Bass, received 6% support.

In that year’s June primary, Bass got 43% of the vote, Caruso nearly 36% and De Léon about 8%.

This year’s LMU poll also asked L.A. voters what kind of candidate they would prefer for mayor.

Nearly 50% said they prefer a Democratic Socialist, while 25% said they want a moderate Democrat, 19% said a conservative and just 8% said an establishment Democrat.

“Los Angeles is much more progressive than its elected leadership. This poll captures that,” Guerra said.

Some disagreed.

Mike Trujillo, a consultant for moderate Democrats who is not representing anyone in the mayoral race, said polling he has done across the city shows that the Democratic Socialists of America’s popularity is much lower.

Raman is a dues-paying member of the Los Angeles chapter of DSA, which endorsed her in her two successful City Council campaigns.

“If you believe this poll, I have bridges to sell you on 1st Street, 6th Street, and Alameda Street — and there’s no bridge on Alameda,” he said. “The poll was basically A to Z in Nithya Raman’s contact list.”

This year’s LMU poll also asked L.A. County voters about the governor’s race. Former U.S. Rep. Katie Porter led at about 16%, followed by Republican Steve Hilton at 13% and billionaire Tom Steyer at 12%.

The Berkeley IGS poll showed two Republicans — Riverside County Sheriff Chad Bianco and Hilton — leading the crowded field of gubernatorial candidates by slim margins among voters statewide, with Democratic support split among multiple candidates in a left-leaning state.

On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.

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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.

I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.

The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.

Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.

Chris Kraus.

(Ariana Drehsler / For The Times)

Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.

Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.

Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.

John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.

Jade Chang.

(Ariana Drehsler / For The Times)

Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.

Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.

Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.

Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.

Ruby Zuckerman.

(Ariana Drehsler/For The Times)

Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.

Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.

Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.

Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.

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Hedi El Kholti, the co-editor of Semiotext(e).   (Ariana Drehsler/For The Times)

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Writers Lily Lady and Siena Soltis-Foster.  (Ariana Drehsler/For The Times)

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Poet Meat Stevens (Steven Lesser).   (Ariana Drehsler/For The Times)

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Sammy Loren, writer and curator of Casual Encountersz.  (Ariana Drehsler/For The Times)

Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”

Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Noah Goldberg, with an assist from David Zahniser and Rebecca Ellis, giving you the latest on city and county government.

Adam Miller is running for mayor.

You might not know that, and you might not even know who he is — and his campaign team wouldn’t blame you.

In fact, the Miller team’s own internal poll of 800 likely voters shows the tech entrepreneur with just 6% support, behind incumbent Mayor Karen Bass, City Councilmember Nithya Raman, conservative reality TV star Spencer Pratt and leftist Rae Huang. Only 13% of Angelenos even have an opinion of Miller, with 7% coming down on the positive side and 6% negative.

Miller’s pollster, Jefrey Pollock, admits it’s not often that a campaign brags about a humble 6% backing their candidate.

But during a video conference with reporters, Pollock argued that Miller’s support rises along with his name recognition. When likely voters were given more information about the candidates, he shot up to 20%, according to the poll. When provided with additional positive information about the candidates, Miller finished first, with 27%.

“Adam is the one who jumps up,” said Pollock, who runs Global Strategy Group.

After voters got the first dose of information, 22% supported Bass, down from 26%; 21% went with Pratt, up from 14%; 14% backed Raman, up from 12%; and 8% chose Huang, down from 9%.

In a poll earlier this month by the UC Berkeley Institute of Governmental Studies, co-sponsored by The Times, Miller also came out with 6% support. Bass was supported by 25% of voters, while Raman drew 17% and conservative reality TV star Spencer Pratt came in third at 14%. About a quarter of voters were undecided.

Paul Mitchell, vice president of the bipartisan voter data firm Political Data Inc., said the Miller campaign poll was compelling.

“What I see is a good argument that he can make the runoff,” Mitchell said. “This is a real deal.”

The question for Miller and his team then becomes, how can he introduce himself to more voters before the June 2 primary?

Miller is the former CEO of Cornerstone OnDemand, a global training and development company he built over the course of more than 20 years. The publicly traded company was eventually sold to a private equity firm for $5.2 billion. He is also a co-founder of Better Angels, a nonprofit focused on preventing homelessness and building affordable housing.

Among everyday Angelenos, he’s a no-name.

A television, social media and outdoor billboard advertising campaign launched this week should help change that, Miller’s team said. They said the “omnichannel” blitz cost seven figures but did not provide an exact amount.

The first billboard went up this week at Bundy Drive and Wilshire Boulevard, not far from Miller’s Brentwood home. More are expected next week in the San Fernando Valley.

Miller said he personally loaned his campaign a “majority” of the money for the ad blitz.

How much Miller is willing to spend on his mayoral ambitions?

In 2022, billionaire developer Rick Caruso threw more than $100 million of his own money into his campaign against Bass during the primary and runoff elections. He still lost by more than 10 percentage points.

“Obviously, we have the benefit of hindsight that that strategy did not work,” Miller said of the Caruso campaign. “There’s reasons my candidacy is different.”

For one thing, as opposed to Caruso, who was a Republican before registering as a Democrat to run for mayor, Miller is a lifelong Democrat. (That said, Miller voted for Caruso in 2022, said his spokesperson, Jaime Sarachit).

Miller is a moderate who sees himself as leader who gets things done. He believes the LAPD needs a minimum of 10,000 officers, up from about 8,700. He thinks the city should use anti-encampment laws to move homeless people away from sensitive areas like schools and day cares.

Miller would not directly answer a question about how much of his own money he will spend on his campaign. He has so far loaned it $2 million, “to get it up and running,” Sarachit said.

“That’s a significant sum, obviously,” said longtime L.A. political consultant Bill Carrick. “It’s a lot more efficient to write a check from your personal account than it is to go raise $2 million.”

But Miller said his campaign will largely be “traditionally financed,” meaning he plans to fundraise.

State of play

— AO-K’ed: Metro’s board on Thursday unanimously approved a new route for a rail line that would extend from South L.A. into West Hollywood — a milestone deal struck after last-minute negotiations between Bass and local leaders. The K Line northern extension would link with four major rail lines and increase the number of riders to 100,000 a day.

— SOCIALIST SNUB: The Los Angeles chapter of the Democratic Socialists of America will not endorse a candidate for mayor. Last weekend, the group voted on whether to reopen its endorsement process and consider backing Huang or Raman but ultimately decided to stay out of the fray for the June primary.

— GUNNING FOR COUNCIL: Leftist City Council candidate Estuardo Mazariegos was convicted of misdemeanor gun possession in 2009. He thinks the conviction is a strength, not a weakness.

— SMALLER BIGGER: On Tuesday, the City Council adopted a strategy that would delay the effects of SB 79 citywide by upzoning 55 single-family and low-density areas, allowing for buildings of four to 16 units that are up to four stories tall. Under SB 79, buildings adjacent to certain transit stops can be up to nine stories.

— NOT UP FOR DEBATE: USC canceled its Tuesday gubernatorial debate, a stunning about-face after days of fiery criticism that every prominent candidate of color was excluded. Although the university defended the methodology used to determine who was invited, it ended up calling off the event with less than 24 hours’ notice.

— PHANTOM SUIT: A man said he has no idea how he became a plaintiff in the county’s $4-billion payout for sex abuse in juvenile halls and foster homes. His lawsuit, which he says was filed without his consent by Downtown LA Law Group, deepens questions around possible fraud in the nation’s largest sex abuse settlement.

— TAX TAKEAWAY: The proposal from a group of business leaders to repeal the city’s business tax has qualified for the November ballot. Organizers said their success — gathering twice as many signatures as needed — shows that voters “want affordability and fairness to be addressed immediately.” Labor unions have vowed to fight the proposal, which would rip an $800-million hole in the city budget.

— HOUSING HUDDLE: Three of the mayoral candidates — Miller, Huang and Raman — took the stage Monday for a downtown forum. The trio went back and forth on housing, transportation and other issues, particularly the future of Measure ULA, the so-called mansion tax. Bass did not attend, citing a previous engagement in New Orleans, where she held a campaign fundraiser with U.S. Rep. Troy Carter (D-La.) and the city’s mayor, Helena Moreno. Pratt also did not show.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program visited Skid Row in Councilmember Ysabel Jurado‘s district, moving 25 people indoors.
• On the docket next week: The City Council is on recess next week.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Gerald Barry is today’s rare opera composer with a draught-dry wit. Is there such a thing as a soaking wet wit, the opposite of the parched variety, because he has that, too. He is Irish. He has some Beckett in him. And a helping of Oscar Wilde.

At the behest of British composer Thomas Adès, the Los Angeles Philharmonic has given, over the past 20 years, the U.S. or world premieres of four Barry operas in its Green Umbrella new music series, all conducted by Adès. The first, “The Triumph of Beauty and Deceit,” seemed to take zaniness to outlandish operatic extremes, which led to the orchestra commissioning the next three. “The Importance of Being Ernest” and “Alice’s Adventures Underground,” in 2011 and 2016 respectively, proved each funnier and more outrageous musical spectacle than the last.

On Tuesday night, the L.A. Phil New Music Group and a cast of extraordinary singers gave the U.S. premiere of “Salome” at Walt Disney Concert Hall. Here we go again.

The description by the composer (who is also his librettist) can hardly be bettered. He has cut Wilde’s play by about half. And, in that half, explored another less knowable side of the moon represented by Richard Strauss’ well-known “Salome,” which helped usher in 20th-century operatic modernism. Barry says his “Salome” is “an opera of voyeurism, the moon, French, God, punishment of sin, misunderstanding, sex, the metronome, suicide, hysteria, hunger, blood, typing, speaking correctly, sterility, ‘The Blue Danube,’ fever, art, Wilde, dreaming, beheading, Frankenstein, kissing.”

No nudity, though, and no dance. Salome is a typist. Her dance of the seven veils is sexy typing.

Barry begins where Wilde begins and Strauss (who follows the original play closely) with a pair of soldiers in Herod’s court peering at the moon, one moonstruck by the beauty of Herod’s daughter Salome. Salome has other ideas. She’s taken, perversely, with John the Baptist, imprisoned in a cistern and prophesying doom for the decadent, Godless heathens, Salome in particular. All of this readily registers on Barry’s Dada-absurdity meter.

Even so, Barry has an oracular outlook. He goes in for proclamatory melody, each note an event, when punched out by brass and lower string like hammering spikes in the ground. Harmonies can be raw. There is a Stravinskyan quality, but nothing is ever predictable.

The orchestral introduction to “Salome” is like that. But it gets screwy fast. Other than Salome, the characters are not named, rather treated as types. John the Baptist is The Prisoner. Herod and Herodias are The King and The Queen. All have some Alice in a different wonderland about them.

The Prisoner could be straight out of a Godard film. He speaks only French (Wilde’s play was first published in French in 1893). He speaks more than he sings and finds outrage everywhere he looks. The surtitles intentionally refrain from translating much of what he says, leaving the audience to rely on his loony spoken tone and loony tunes to carry meaning. His way of impatiently rebuffing Salome’s inappropriate advances is to give her singing lessons.

That’s the last thing she needs. Her part, like that of Alice in Barry’s previous opera, is enlivened by delightfully squeaky high notes in unexpected places. She’s Barbie with exceptional smarts and grotesque sexual fantasies. Soprano Alison Scherzer, who has starred in Barry’s other operas and in Adès’ “Powder Her Face,” is spectacular.

Everyone is odd. The half-crazed King, magnificently sung by the ever-disruptive Timur, lusts after Salome by speaking and singing at different speeds he selects on a metronome, as he entices her to type for him. When she first refuses, the King has everyone sing “The Blue Danube,” because that’s what you do when Salome won’t sexy type for you.

Sara Hershkowitz’s wildly contemptuous Queen adds further soprano glory. The baritone, Vincent Casagrande, a marvelously cantankerous Prisoner, tells us only sick people dream, and of course everyone on stage automatically enters a dream state.

The shock of Wilde’s play, amplified in Strauss’ opera, is the sheer horror of Salome demanding as a reward for her striptease the decapitated head of the prophet, whose bloody lips she desires to kiss. In this case, her typing, which is accompanied by the two soldiers (Justin Hopkins and Karl Huml) on their own typewriters, leads to a dismemberment Frankenstein-style. The ghoulish ending is not unhappy.

Barry’s score remains as uncanny as his sense of drama. He plays with our senses of normality. He frequently uses the instrumentalists in the chamber orchestra like theatrical characters. The ensemble contradicts the singers but also eggs them on. Adès, who has his own unpredictably whimsical side, conducts as though he had written the score himself and shares his pleasure with every delightful effect.

The premiere of “Salome,” intended for 2021 in Disney, was disrupted by the pandemic. The first performance, then, became a staging in Magdeburg, Germany, last year. Barry said Tuesday in the pre-concert Upbeat Live that he is often happier with concert performances, like at this Green Umbrella. He has good reason.

The magic of this “Salome” is its transcendence of silliness into acceptance. When presented without theatrical aspect but as a private process of the imagination, it becomes a lavishly lovable antidote to our too often accepting the world’s absurdity only as dooms-scrollable tragedy.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

In another busy week for new releases, the horror-comedy “Forbidden Fruits” is among the standouts. Having just premiered at SXSW, it is the feature debut for director Meredith Alloway, who co-wrote the screenplay with Lily Houghton, adapting Houghton’s play. Diablo Cody is a producer on the film, and the movie shares a sensibility with her beloved “Jennifer’s Body.”

Set at a Texas shopping mall, the plot follows a group of female employees at a boutique who are secretly a coven of witches after hours. They bring a new employee into their fold. Lili Reinhart, Lola Tung, Victoria Pedretti and Alexandra Shipp star.

Alexandra Shipp, from left, Victoria Pedretti, Lili Reinhart and Lola Tung in the movie “Forbidden Fruits.”

(Sabrina Lantos / Independent Film Co. / Shudder)

Though Katie Walsh gave the film a mixed review, declaring it “essentially the fast fashion of girly pop horror,” the film casts a spell when it is working.

Pedretti in particular is a standout, and Malia Mendez spoke to her about the role. “It asks a lot of people to try to step into a world like this one,” Pedretti said of the film’s knowing, campy style. “And as nerve-racking as it may be to take that big swing, you gotta take the big swing.”

Also opening in L.A. this week is Sofia Coppola’s “Marc by Sofia.” The director’s first documentary, it’s more a snapshot than a definitive portrait of the life and career of her longtime friend, fashion designer Marc Jacobs, as he prepares for his spring 2024 collection. While not as in-depth or revealing as one would hope, the film has a warmth and charm all its own. And anyone feeling nostalgic for ’90s New York after watching the recent TV series “Love Story” will get a buzz from this too.

Larry Karaszewski on ‘Last Summer’

Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”

(Warner Archive)

The American Cinematheque at the Aero Theatre on Sunday will host the world premiere of a new restoration of the theatrical version of 1969’s “Last Summer,” directed by Frank Perry from a screenplay by Eleanor Perry. Actors Barbara Hershey and Bruce Davison will be there for a Q&A moderated by screenwriter Larry Karaszewski.

“This is one of the holy grails for movie nerds,” says Karaszewski in a recent phone interview. The restoration happened in no small part thanks to his persistent and vocal fandom of the film. Best known for his work with writing partner Scott Alexander (including “Dolemite Is My Name” and “Ed Wood”) and currently a governor in the academy’s writer’s branch, Karaszewski is also a pillar of the repertory scene around Los Angeles, frequently moderating Q&As and an avid moviegoer.

Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”

(Warner Archive)

“Last Summer” follows three teenagers (Hershey, Davison and Richard Thomas) whiling away the summer at the beach on New York’s Fire Island. As a certain psychosexual energy escalates among them, winding each other up, they turn their attention to a younger girl (Catherine Burns) and torment her in increasingly sadistic ways.

For her performance, Burns was nominated for an Oscar for supporting actress, while Hershey briefly changed her last name to Seagull after a bird was accidentally injured on set.

In his original July 1969 review, The Times’ Charles Champlin called “Last Summer” “a compelling and disturbing movie, with moments of quite extraordinary power and poignance.”

“This was a movie that people who saw it were just fascinated by,” says Karaszewski. “Even though it came out in ’69, it feels like an important ’70s-style movie, a really rough youth film that used the new freedom that cinema had at that time. But you couldn’t see it.”

Director Frank Perry and screenwriter Eleanor Perry during production of “Last Summer.”

(Warner Archive)

Over time, the rights to the movie changed hands, elements went missing and it became a rarity. Due to an intense rape scene, the movie was also briefly released to some theaters with an X-rating, though Karaszewski says the differences to the R-rated version are minimal — a matter of a few frames and a single word. Released on VHS, “Last Summer” has never been on DVD or Blu-ray. (The Warner Archive label will release a disc of the new restoration later this year.) An edited TV version of the film has circulated, and the last few times “Last Summer” has shown in Los Angeles, it has been from a print discovered at an archive in Australia.

Karaszewski has long had a fascination with the film, one that was only fueled by its inaccessibility.

“It became famous as just, ‘Oh, that’s the movie Larry champions, that’s the movie that Larry won’t stop talking about,’ ” he says. Karaszewski jokes that he won’t know what to do with himself now that his longtime obsession with seeing the film revived has been fulfilled.

“I’ve been championing it so long,” he says. “It could have been just like, ‘Oh, Larry’s a little crazy. He loves this movie.’ And that would’ve been fine too. I’m a person that feels like every movie should have its day in the spotlight.”

The complete Akira Kurosawa in 35mm

An image from Akira Kurosawa’s “Ran.”

(Rialto Pictures)

On Saturday, the Academy Museum launches “Darkness and Humanity: The Complete Akira Kurosawa,” a comprehensive retrospective of the Japanese filmmaker’s 30 existing features, all of which will screen in 35mm. The series opens with two of Kurosawa’s best-known films, “Seven Samurai” and “Rashomon.” Other highlights include “Throne of Blood,” “Ikiru,” “Hidden Fortress,” “Stray Dog,” “High and Low,” “Dreams” and “Ran.” This is a rare opportunity to take in the true breadth of Kurosawa’s work.

Writing about the filmmaker in 2009 to commemorate the centennial of his birth, Dennis Lim said, “The wonder of Akira Kurosawa’s 50-year career is that it was at once remarkably varied and satisfyingly coherent …. But the constant in his films was the principle of heroism, not as a vaporous ideal but a way of life, an awareness of individual agency and personal responsibility in a world that does not always reward or even allow heroic behavior.”

Toshiro Mifune in Akira Kurosawa’s “Yojimbo.”

(Janus Films)

Kurosawa’s influence on other filmmakers around the world has been widely acknowledged. Upon the news of Kurosawa’s death, Steven Spielberg proclaimed him “the visual Shakespeare of our time” and added, “I am deeply saddened by Kurosawa’s death. But what encourages me is that he … is the only director who right until the end of his life continued to make films that were recognized as, or will be recognized as, classics.”

In 1985, while in Los Angeles for a screening of his film “Ran,” Kurosawa described his own work by saying, “I just make up stories and film them. When I am lucky, the stories have a lifelike quality that makes them appealing to people and the film is successful.”

Points of interest

‘To Sleep With Anger’ in 35mm

Actor Danny Glover and director Charles Burnett during production of “To Sleep With Anger.”

(Samuel Goldwyn Company / Photofest)

To celebrate the release of Ashley Clark’s new book “The World of Black Film: A Journey Through Cinematic Blackness in 100 Films,” the UCLA Film and Television Archive will screen Charles Burnett’s 1990 drama “To Sleep With Anger” in 35mm at the Billy Wilder Theater on Sunday. Clark will be there for a book signing, and Burnett will join him for a Q&A.

Recently included as part of The Times’ ranked list of the 101 best Los Angeles movies, “Anger” stars Danny Glover in a galvanizing performance as Harry, an old friend from the South who arrives for an unexpected visit to a family in South Central L.A., upending their lives.

In his book, Clark describes the film as “a singular work with a distinct yet tantalizingly hard-to-pin-down performance from Danny Glover, who, as the inscrutable Harry, flickers between menace and charm, using all of his six-foot-four-inch stature to dominate the frame.”

In a 1990 Times story by David Wallace, Burnett spoke about how the film was meant to evoke a sense of Black cultural history, saying, “I didn’t appreciate the [storytelling] tradition until it disappeared. I had a sense of who I was because of that experience. … This film was an attempt to go back and deal with the past. To tell a story about a story.”

Added Glover: “I think there is a little of Harry in all of us. We’re constantly in conflict between the good side and the other. Harry’s involvement with the dark side is not that uncommon.”

Clark will also appear at the Academy Museum on Monday for the world premiere of Ngozi Onwurah’s restored 1995 film “Welcome II the Terrordome.”

‘Thank You for Smoking’

Aaron Eckhart in the movie “Thank You for Smoking.”

(Dale Robinette / Fox Searchlight Pictures)

On Saturday, Vidiots will host a 20th anniversary screening of Jason Reitman’s debut feature “Thank You for Smoking” in 35mm, with the filmmaker in attendance for a Q&A. Adapted by Reitman from a novel by Christopher Buckley, the film is media satire that follows the misadventures of a lobbyist (Aaron Eckhart) for Big Tobacco. The cast also includes Katie Holmes, Robert Duvall, William H. Macy and Sam Elliott.

In his original review, Kenneth Turan called the movie “that rare film that actually has a sense of humor,” before adding, “Reitman’s script and direction retain the novel’s rhythms and black comic sensibility while at the same time eliminating and/or rearranging large chunks of its plot. He’s also figured out a way to make the story more conventionally audience-friendly without losing the extraordinary bite that made the book so successful.”

I recall an afternoon spent on the Fox lot talking to Reitman and Buckley together for a piece I wrote in 2006. The political climate that the film examines, one of extreme partisanship, has only heightened in the years since.

“The compliment the book always got,” said Reitman at the time, “which I thought was wonderful, was Democrats always thought it was theirs and Republicans always thought it was theirs. Like all good satire, the book was a mirror. … It doesn’t feel like it’s coming from one way or the other. It’s ridiculing both, and hopefully the film does the same thing.”

“What happened to my dreams? Simply put: they changed,” reads Phil Augusta Jackson aloud to a crowd in a furniture store. Tonight’s theme is change. From a podium, the television writer reflects on the long, thorny odyssey of his career. A pinball machine blinks in the background. Behind him, dreamy abstract prints hang on the wall, their shapes seeming to melt in the unseasonable spring heat.

Alongside mid-century furnishings and art in Echo Park, siblings Madeline Walter and Evan Walter host their wildly popular reading series, Essays. It’s a warm spring night. In a tender essay, Evan considers what he’s inherited from his idiosyncratic father. “I scream-sneeze like him now,” he reads. “It feels like a mess figuring out what parts of your parents you’re going to keep.”

In March 2024, the Walter siblings began the reading series in a friend’s backyard. “It was cold and wet, and we were so nervous nobody would come,” says Madeline. Since then, the show has moved through a series of venues before settling into a home at The Hunt Vintage. In just two years, it has grown into a local phenomenon, regularly drawing crowds of more than 150 people into the singular space.

The idea for Essays took shape during a conversation about creative constraints. Both writers and comedians, the siblings wanted to host a show that pushed beyond snappy punchlines and polished half-truths. “The objective is different from just being funny,” Madeline says. “It’s to tell me about yourself. Tell me something you’re thinking about.”

Siblings Madeline and Evan Walter host a popular monthly reading series called Essays at Echo Park’s Hunt Vintage.

(Ryan Wall )

Like many readings across Los Angeles, Essays taps into a growing appetite for sincerity. “People are really craving a space where you can be funny, be vulnerable, laugh at yourself — and where there’s an earnestness,” Evan says. That sensibility feels familiar to them. They grew up in what Madeline describes as a “very NPR-coded household that loved David Sedaris-style stuff.” She adds: “Doing something in the essay space feels like a surprising return to form.”

“One of my roommates describes it as a church-like experience, because everything is just so emotionally0driven and connective,” says Kaitlyn Kilmer, a longtime attendee.

The legacy of the series has begun to ripple outward. Their reading series has created a complementary Substack. Kilmer is now hosting a reading in her living room among friends.“We decided that we wanted to do our own, so I gathered a few friends who had been fans of the Essays show,” she says.

Essays exists in a larger network of reading series that make up Los Angeles’ diverse and ever-evolving literary scene. “There are so many readings now,” explains non-fiction writer Diana Ruzova, who frequently attends readings. “I’m not mad at it, though, mostly grateful that L.A. has a thriving literary community.”

In Los Feliz, Skylight Books continues to host intimate book launches for some of the most anticipated literary releases, drawing local favorites and celebrities.

“Our vibe is cozy,” says Mary Williams, general manager of Skylight Books. “We set up chairs under the big tree that grows in the middle of the store, and we hope this is a go-to place for our community to see their favorite authors while mingling with other book lovers.”

Elsewhere, at Heavy Manners Library, the tone of literary events leans more toward the experimental. “Experimental, unpolished writing can be shared and reflected on in an accessible, communal setting,” says program assistant Jane Shin.

This spring, literary events across the city run the gamut — from independent book fairs to poetry workshops, from the bizarre to the deeply vulnerable — welcoming everyone from curious newcomers to die-hard bookworms.

WASHINGTON — When President Trump ordered immigration raids in Los Angeles last June, only a handful of those arrested were violent criminals. The sweeps split families, cost businesses millions of dollars and drove many undocumented residents into hiding.

Activists protested the Immigration and Customs Enforcement actions, prompting the president to deploy thousands of federal troops in what he called a security operation. A federal judge called it unlawful and said the deployment caused “greater harm” to the city.

Now, Trump wants a redo.

At a Cabinet meeting Thursday, he called on the mayors and governors of several blue cities and states to allow troops to “come in and stop the crime,” pointing to purported successes in Washington, Memphis and New Orleans.

“Crime is down 75% in a short period of time,” Trump told his top advisors. “We could do that for L.A. and we could do that for, frankly, San Francisco.”

The president framed the deployments as both a crime-fighting and immigration enforcement tool, saying that federal authorities can remove people from cities in ways local officials cannot.

“We can do it much more effectively, because [local leaders] can’t do what we do,” Trump said. “All the time, people come up to me … and they say ‘thank you so much.’ I know immediately what they’re talking about. They’re able to walk to work.”

Trump also said this week that he would consider deploying the National Guard at airports to assist with mounting security delays amid a 40-day partial government shutdown.

The renewed call comes after a series of controversial federal interventions in cities across the country. In Washington, Trump has repeatedly touted a visible security presence near federal buildings, crediting it with improving public safety, though local officials and analysts have debated how much of any decline in crime can be attributed to his order.

U.S. Marines stationed outside the federal detention center in downtown Los Angeles in June.

(Allen J. Schaben / Los Angeles Times)

In January, Trump threatened to invoke the Insurrection Act to deploy troops to Minneapolis during the civil unrest that followed the fatal shooting of Renee Good by a federal immigration agent. The Pentagon prepared active-duty troops for a possible deployment, but they were ordered to stand down following the shooting of a second Minneapolis civilian, Alex Pretti, the same month.

Immigration sweeps in Los Angeles targeted workplaces, neighborhoods and churches, stirring widespread panic and forcing many undocumented residents — including those with long-term residency and native-born children — into hiding. As a result, businesses reported sharp declines in revenue and customer traffic. A county analysis found that 82% of surveyed businesses experienced negative impacts, with some losing more than half their income amid workforce shortages and traffic reductions.

During the fallout, Mayor Karen Bass condemned Trump’s deployment of some 4,000 California National Guardsmen and 700 U.S. Marines.

“Deploying federalized troops on the heels of these raids is a chaotic escalation,” she said. “The fear people are feeling in our city right now is very real — it’s felt in our communities and within our families, and it puts our neighborhoods at risk. This is the last thing that our city needs.”

The president called the occupation off after U.S. District Judge Charles Breyer ruled that control of the California National Guard should be returned to the governor, rejecting the federal government’s authority to maintain control indefinitely. A similar Supreme Court ruling effectively ended federalized deployments throughout the country.

“The judges are really hurting this country,” Trump said Thursday. “Frankly, the justices — the Supreme Court — has really hurt our country, too.”

At the meeting, Trump also narrowed his comments on San Francisco and its mayor, Daniel Lurie.

“San Francisco was a great city, could quickly become a great city again,” Trump said. “But we can do it much more effectively.”

Last year, Trump considered carrying out similar federal law enforcement operations in the city. He backed off after a somewhat conciliatory phone call with Lurie, in which Trump said the mayor asked him “very nicely” to call off the deployment. Afterward, he agreed to give the newly elected mayor “a chance” to address crime in the city.

“In San Francisco, crime is down 30%, encampments are at record lows, and our city is on the rise,” Lurie said in a statement Thursday. “Public safety is my number one priority, and we are going to stay laser focused on keeping our streets safe and clean.”

A spokesperson for Lurie’s office said the two have not spoken since that October conversation, indicating Trump’s latest remarks do not reflect any new request or ongoing negotiations. Even so, the president struck a measured tone toward the San Francisco mayor on Thursday. He said Lurie is “trying very hard” but insisted federal intervention would get the job done faster.

Whether any Democrat-led city will take Trump up on that offer remains to be seen. City leaders have previously resisted federal deployments, arguing they undermine local control and risk inflaming already tense situations.

The White House did not respond to questions about whether any current plans exist to redeploy federalized troops to California cities.

Times staff writer Melissa Gomez in Los Angeles contributed to this report.

Transgender women athletes will be excluded from the Olympics beginning with the 2028 Los Angeles Games after the International Olympic Committee implemented a new eligibility policy on Thursday.

Eligibility for women’s competition will be determined by a one-time, mandatory genetics test, according to the IOC. The test requires screening through saliva, a cheek swab or a blood sample.

No woman who transitioned from being born male competed at the 2024 Paris Summer Games, and it is unclear if any transgender women currently compete at an Olympic level. The new policy, however, aligns with President Trump’s executive order banning transgender athletes from participating in women’s or girls’ sporting events in the United States.

The eligibility policy approved by the IOC is not retroactive and does not apply to recreational sports programs.

The IOC said in a statement that it “protects fairness, safety and integrity in the female category.

“Eligibility for any female category event at the Olympic Games or any other IOC event, including individual and team sports, is now limited to biological females.”

Until now, individual sports federations determined whether transgender women were allowed to compete in women’s categories, with the IOC providing only recommendations. Sports that placed restrictions on transgender athletes included track and field, boxing, swimming and rugby.

The IOC Executive Board approved the new policy after 18 months of study. It mirrors the guidelines approved by the World Athletics Council in June, determining eligibility for the female category through screening for the absence or presence of the SRY gene.

The IOC policy leans on scientific research that considers the presence of the SRY gene fixed for life and represents evidence that an athlete has experienced male sex development. Athletes who screen negative for the SRY gene will be eligible to compete in women’s sports.

SRY (which stands for sex-determining region Y gene) is found on the Y chromosome. In the cell, it binds to other DNA, leading to testis formation, according to the National Library of Medicine. Even men who lack Y chromosomes still have a copy of the SRY region on one of their X chromosomes, which accounts for their maleness.

Jane Thornton, the IOC medical and scientific director, last year presented to the executive board findings that transgender athletes born with male sexual markers retained physical advantages, even those that had received treatment to reduce testosterone.

Kirsty Coventry, a former gold-medal Olympics swimmer from Zimbabwe, was elected a year ago as the first woman president of the IOC. She campaigned on the importance of protecting the women’s category.

“At the Olympic Games, even the smallest margins can be the difference between victory and defeat,” Coventry said Thursday in a statement. “So, it is absolutely clear that it would not be fair for biological males to compete in the female category.”

When Estuardo Mazariegos was 22, he was pulled over by Los Angeles police officers who found a gun and ammunition in the back seat of his Nissan Sentra.

The gun, he said, was not his. He was holding onto it for a friend, he said, but he got hit with a felony gun possession charge, later pleading it down to a misdemeanor.

Seventeen years later, Mazariegos is running for Los Angeles City Council — and he believes his gun conviction makes him a better candidate.

“I think it’s a strength. It’s not a liability,” said Mazariegos, who was born in Guatemala and grew up in Hollywood and South L.A. “I feel like it creates more of a connection with me and the community, because there’s so many people that are justice-impacted.”

But the gun charge could also be an issue for Mazariegos in his race against five other candidates to represent Council District 9, which covers part of South L.A. He was also convicted of shoplifting when he was 19.

The district is the poorest the city, and the council race is expected to be one of the most competitive city contests this June, with the current council member, Curren Price, terming out.

Mazariegos is head of the Alliance of Californians for Community Empowerment Los Angeles, a grassroots advocacy organization. The 40-year-old is backed by the L.A. chapter of the Democratic Socialists of America and supports leftist policies like reducing funding to the LAPD to spend more on other programs.

Jose Ugarte, a District 9 candidate who was a longtime Price staffer, believes his opponent’s criminal history is a red flag.

“Getting arrested and convicted for multiple crimes, including carrying a concealed loaded gun, should disqualify Estuardo in this race,” Ugarte said in a statement. “Instead, the Democratic Socialists of L.A. are propping up his candidacy and hiding his criminal past from voters who deserve to know the truth.”

DSA-LA co-chair Leslie Chang said her group is “proud” to stand with Mazariegos.

Mazariegos’ supporters say he hasn’t hidden his past.

Georgia Flowers-Lee, a vice president with United Teachers Los Angeles, said Mazariegos discussed his gun conviction and the circumstances surrounding it during his interviews with the union, which ended up endorsing him.

“He was up front, honest about the challenges and honest about the gun charge,” she said. “Walked us through what had happened and where it led and how and why he ended up pleading it out,” she said.

Flowers-Lee, who lives in the district, said that young men of color like Mazariegos are overpoliced.

“I do not see this as a disqualifier. And let’s talk about redemption,” she said.

Wednesday night, Mazariegos released a campaign video featuring him discussing gun violence and his conviction with childhood friends. He said it was a turning point in his life.

“That was the moment where I was like, it’s either now or never,” he said. “Either I leave this s— behind, or it’s going to eat me up. I’m never going back to that lifestyle. I’m going to dedicate myself to the people.”

Mazariegos said he never carried a gun, except for that one day, but many of his friends did.

“Guns were a very common thing. It was almost like having a bike,” he said.

Mazariegos said that in 2009, he was driving home from the San Fernando Valley in the early morning, after dropping friends off, when he was pulled over by the LAPD. He said the officers gave no reason for stopping him, but they made him get out of his car and searched it without a warrant, finding the gun.

He was a permanent resident at the time, after moving from Guatemala at a young age, and was advised by his attorney to plead guilty to a misdemeanor charge of carrying a concealed weapon in a vehicle, to avoid possible deportation, he said.

He was sentenced to 24 months of probation and one day in jail, court records show.

Growing up in Hollywood and Hyde Park, among other parts of the city, Mazariegos was intimately familiar with gun and gang violence.

His friend, Oscar Michael Morales, was shot to death in 2001 at age 14. He remembers Morales’ mother cleaning the blood off the sidewalk the next day.

His gun conviction helps him connect with residents of Council District 9, Mazariegos said, and he frequently discusses it while door-knocking.

Ugarte, meanwhile, is paying off $25,000 in fines to the city Ethics Commission for failing to disclose years of outside income while he was working for Price.

Price himself has been criminally charged with four counts of voting on matters in which he had a conflict of interest, five counts of embezzlement and three counts of perjury. Prosecutors allege he voted to approve deals with developers or agencies that had done business with his wife.

Over the past few weeks, I’ve been driving all over Los Angeles doing something I haven’t done in a long time: playing pretend.

I pretended I was in a medieval castle at a French cafe in Miracle Mile and that I was looking for trolls on a fern-filled hike in Griffith Park. I imagined that Tolkien’s elves built the creekside restaurant where I met a friend for brunch in Topanga and that I was eating alongside real witches in a forest-themed dining room in North Hollywood.

In a Whittier tea room, I poured a glittering potion that said “Drink Me” into a glass of Champagne and in Beverly Hills, I stared awestruck at the platonic ideal of a witch’s house, half expecting a bent old lady with a wart on her nose to come out and turn me into a toad.

It’s been a rough start to 2026 and these brief moments of make-believe have served as a joyful balm in sad and scary times. I’m not looking to bypass reality, but taking a break from it every once in a while can be a welcome reprieve. Fortunately, Los Angeles is especially good at creating transporting experiences that drip with fairy-tale ambience. This is the home of Hollywood after all, the land of artifice, the spot where Walt Disney dreamed up the Happiest Place on Earth. Seeking and finding moments of happily ever after, even if they last just a few minutes, is part of the city’s collective DNA.

So grab your broom and make sure to leave a trail of bread crumbs behind you. L.A. has plenty of magic to share. All you need to do is open your mind and explore.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

Two decades after owner Arte Moreno decided the Angels should play under the Los Angeles name, elected officials representing Anaheim are pursuing two paths toward getting their hometown back into the team name.

Assemblyman Avelino Valencia, whose district includes Angel Stadium, has introduced state legislation that could require any sale or new lease of the stadium property be conditioned upon the team reverting to the Anaheim Angels name.

Meanwhile, Anaheim Mayor Ashleigh Aitken has asked the city attorney to explore whether the Angels have violated their current lease by dropping the Anaheim name from legal documents.

Valencia’s bill — dubbed the “Home Run for Anaheim Act” — aims to mandate what the city of Anaheim could not negotiate in its ill-fated deal with Moreno in 2019: If a team owner wants to develop the parking lots around the city stadium, the team should carry the city’s name.

“The Angels have been supported by the city and its residents for 60 years,” Valencia said. “I think it’s rightfully owed to the residents that, if the team wants to play in Anaheim and be in partnership with Anaheim when it comes to future developments of that stadium and surrounding property, then the name should also resemble that.”

Angels spokeswoman Marie Garvey said the team had no comment.

The Angels’ current stadium lease extends through 2032, with the team holding options to extend the lease through 2038.

The city and team had agreed on a deal in which the Angels would remain in Anaheim through 2050, with the team buying the 150-acre stadium property for $150 million, renovating or replacing the stadium, and building a ballpark village atop the parking lots.

The state objected, however. The Surplus Land Act requires public property up for sale must first be made available for affordable housing, and the city negotiated only with the Angels. The city agreed to a $96-million settlement.

The Anaheim City Council ultimately killed the deal three years later, after an FBI investigation uncovered — and former mayor Harry Sidhu acknowledged in a plea agreement — that Sidhu provided confidential information to the team “so that the Angels could buy Angel Stadium on terms beneficial to the Angels” and that he “expected a $1,000,000 campaign contribution from the Angels.” The government has not alleged any wrongdoing by the Angels.

Valencia’s bill was developed in consultation with city leaders and publicly endorsed by Aitken and former mayors Tom Daly and Tom Tait.

Under the bill, if the city can obtain an exemption from the Surplus Land Act, the team could not buy or lease Angel Stadium unless “materials refer to that team as the Anaheim Angels.”

The bill would only apply to Anaheim, and its provisions would not take effect “if the city of Anaheim is able to come to an agreement with the Major League Baseball team known as the Los Angeles Angels about their affiliation.”

Valencia said the city could make a case for an exemption because he believed the Surplus Land Act was designed for smaller properties like school sites and municipal office buildings. He said the community should have the primary say in how such land should be used, even if that might mean less housing on the Angel Stadium site.

“We definitely need more housing because it’s so dang expensive to live, but the amount of housing (in Anaheim) that has gone up in the last 10, 15 years, I think, mitigates some of that,” Valencia said.

“I think folks in Anaheim think that Anaheim is doing their fair share of developing housing. I don’t want to muddy the concept by saying Anaheim is saying, ‘We don’t need any more housing. We have been so proactive in that space. But I think people are going to be thrilled that we want to make the Angels have Anaheim back in the name.”

In 2005, after city officials declined Moreno’s request to change the team name from Anaheim Angels to Los Angeles Angels, the owner adopted the “Los Angeles Angels of Anaheim” name. The city sued and lost, with a jury finding that the Angels had not violated a stadium lease requirement that the team name “include the name Anaheim therein.”

When the city sued the Angels and asked for an injunction to stop the name change pending trial, Orange County Superior Court Judge Peter Polos denied the request. He did, however, warn the Angels he would grant the injunction if the team dropped the “of Anaheim” and simply called themselves the Los Angeles Angels.

In 2006, after the city had lost its lawsuit, Polos ruled the team could market itself by whatever name it wished. By 2016, the team called itself the Los Angeles Angels. In state records, the legal entity is Angels Baseball LP.

“When it comes to official designations, and to how they’re registered, I want us to look into how Anaheim is being used by the team in any official filings,” Aitken said, “and what their requirements are to do so.”

When Aitken asked City Attorney Robert Fabela to investigate, Fabela said the matter would be discussed in closed session as a “potential litigation item.”

Keeping and maintaining friends as an adult is hard, especially with the demands of life, travel and work. In volunteering, I encounter more people like myself, which is nice, but sometimes it’s difficult to participate without a lot of commitment to the organizations. I’m wanting to explore smaller, intimate groups to build community with people who I share similar values with. I’m interested in self-growth, psychology, games, mindfulness and yoga. I loved the L.A. Times story “Awaken your inner child at this welcoming collage club for adults” and I would love to know about similar activities. Thanks! —Marlen I.

Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations.

Here’s what we suggest:

Marlen, I couldn’t agree more. As we get older, it can feel more and more difficult to sustain friendships, especially in Los Angeles, where people live so far apart and have busy lives. This struggle is exactly why so many social clubs have been sprouting up in L.A. over the last few years. From board game clubs to junk journaling meetups, there’s so many different ways to connect and maybe try something new. I’ve compiled a list of social clubs and community spaces that I think you’ll enjoy.

Since you’re already familiar with Art+Mind Studios, you should definitely check out Junk Journal Club. Junk journaling is essentially a craft practice that combines elements of collaging, journaling and scrapbooking. With the rise of junk journaling content on social media, the once solo pastime has turned into a lively social scene. Junk Journal Club, dubbed “the original junk journal club,” hosts monthly meetups, which can be found on its Instagram page. When my colleague Malia Mendez went to an event recently, people told her that attending Junk Journal Club “has made befriending strangers easy,” and many of them stay in touch.

Another craft-centered event that’s worth exploring is the Crafters Clubhouse, which founder Victoria Ansah calls “a creative third space for adult makers.” She hosts monthly arts and crafts workshops including activities like scrapbooking, punch needle embroidery and clay art.

Given that you’re interested in yoga and mindfulness, you may like WalkGood LA, a community-centered wellness organization that hosts a variety of activities including a run club and accessible yoga classes. During the pandemic, I found solace in attending their weekly yoga classes called BreatheGood. The outdoor sessions take place every first Sunday at Kenneth Hahn State Recreation Area and feature free chiropractic adjustments and healthy food vendors. The vibe of the intergenerational event feels warm and welcoming. All you have to do is show up with your yoga mat. The organization also hosts various classes including yoga, breath work, mindful meditation, mat Pilates and step aerobics at their studio, the WalkGood Yard, in Arlington Heights.

Another social club I recommend is Love, Peace & Spades, which my friend Kevin Clark started in 2022, to create a space where people could play the card game with others. With music provided by a live DJ, the monthly game night feels like being at a family cookout. Spades can be extremely intimidating to start as a beginner playing with pros. But don’t worry. Love, Peace & Spades has instructors who can teach you how to play.

If you’re interested in chess, L.A. Chess Club is “an event with the laid-back ease of a chill game night and all the social and romantic possibility of a night out on the town,” according to Times contributor Martine Thompson, who wrote a story about the event. At the weekly gathering, which features a food vendor, cocktails, tattoo artists and DJs, you can “competitively play chess, learn the game, meet new friends or mingle as a single person,” Thompson shares. Another fun event is RummiKlub, a monthly Rummikub game night that takes place in elevated, design-forward spaces across the city.

L.A. also has several fun creative venues that regularly bring people together, such as Junior High, a nonprofit art gallery and inclusive gathering space that hosts artist showcases, comedy nights, pottery workshops and more. There’s also Nina in Atwater, which holds a variety of gatherings including a monthly series that focuses on mindfulness called “Be Here Now: Simple Tools for an Everyday Nervous System Reset.”

I hope that these suggestions are a good starting point for finding the group, or several groups, that are an ideal fit for you. Just by putting yourself out there and being open, you are bound to build and find community. Best of luck on your journey!

So much seems to cost too much nowadays.

The expensive nature of everything is a popular topic on Reddit and the subject of countless papers and think pieces.

Plus, every time you drive, you can see the escalating average cost for a gallon of gas throughout the state that ranges from $5.77 in Orange County, $5.78 in San Diego County, $5.80 in Los Angeles County and $5.86 in San Francisco County to the high of $6.57 in Mono County, according to AAA.

It can easily make anyone think having fun is unaffordable.

Fortunately, our Travel and Experiences team has put together a list of 75 fun things to do for under $20.

Here is a selection of those picks, while the entire list should be explored.

(Genaro Molina / Los Angeles Times)

Paddle a swan boat in Echo Park Lake (Echo Park)

Cost: $13 per hour, $7.50 for those under age 18.

On warm days, it’s hard to beat a ride on the swan boats at Echo Park.

They’re powered by foot paddles, and the pedaling is easy because you’re in no hurry. Maybe you’ll want to do a circuit of the lake (really a man-made reservoir). Maybe you’ll sidle up to the towers of whitewater rising from the mid-lake fountain.

Maybe you’ll wait until after dark (because the swans light up).

(Christina House / Los Angeles Times)

Experience L.A.’s esoteric history at the Philosophical Research Society (Los Feliz)

Cost: Free to visit, workshops and lectures from $10 and up.

Located at the intersection of Los Feliz and Griffith Park boulevards, the Philosophical Research Society has long been a place of mystery, intrigue and, for some, apprehension.

The Mayan Revival campus painted in Southwestern shades of clay, cream and sage was built in 1935 by the celebrated author and esoteric lecturer Manly P. Hall.

Today, it hosts a dizzying array of events each week including poetry readings, death cafes, sound baths, a weekly class on Buddhism, tarot and astrology salons and musical performances — some of which have a suggested donation of just $10.

If you visit, make sure to make time to browse the excellently curated metaphysical bookstore.

(Gina Ferazzi / Los Angeles Times)

Find the perfect meditation spot at the Self-Realization Fellowship Lake Shrine (Pacific Palisades)

Cost: Free.

Whether or not you’re familiar with the work of Paramahansa Yogananda, who founded the Self-Realization Fellowship in 1920, if you live in Los Angeles you owe him a debt of gratitude for the smattering of lush, meditative gardens in Southern California that are still open to the public today.

Among those is Lake Shrine, a beautifully landscaped 10-acre property in the Pacific Palisades surrounding a spring-fed lake that is dotted with quiet meditation spots.

It is free to visit, but you will need to make a reservation online before you go. (Reservations open each Saturday at 10 a.m. for the week ahead, and they can fill up quickly.)

(Wally Skalij / Los Angeles Times)

Cozy up with a flick at the Paramount Drive-In Theater (Paramount)

Cost: $14 per adult, $7 per kid (ages 3-11).

For a night out that feels as cozy as a night in, head to the Paramount Drive-In Theater. In the comfort of your own car, you can spread out, munch popcorn and make all the commentary you want without getting looks from other moviegoers.

Tickets are purchased on arrival, and the parking lot is huge, so you’re bound to secure a good view of the big screen. There is a concession store on site with candy, chips and drinks, but you are free to bring all the snacks you want from home. Recline your seat all the way back, relax and enjoy the show.

Check out the entire list here.

The week’s biggest stories

(Irfan Khan / Los Angeles Times)

Heat wave and environmental news

Los Angeles mayor, city council news

Cesar Chavez fallout

California governor’s race

Crime, courts and policing

What else is going on

Must reads

Other meaty reads

For your downtime

(Illustrations by Lindsey Made This; photograph by Myung J. Chun / Los Angeles Times)

Going out

Staying in

L.A. Affairs

Get wrapped up in tantalizing stories about dating, relationships and marriage.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew J. Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

Los Angeles Mayor Karen Bass has a lead over her challengers in her bid for reelection, but more than half of voters view her unfavorably, according to a poll released Sunday.

Bass was supported by 25% of voters, while City Councilmember Nithya Raman drew 17% and conservative reality TV star Spencer Pratt came in third at 14% in the poll by the UC Berkeley Institute of Governmental Studies, co-sponsored by The Times.

About a quarter of voters were undecided, the poll found.

Bass has come under heavy criticism for her handling of the devastating Palisades fire. More than a year later, 56% of those polled said they had an unfavorable view of her, while 31% viewed her favorably.

The survey of 840 likely voters between March 9 and 15 provides one of the first snapshots of the mayoral race, less than three months before the June 2 primary.

Beyond the top three, leftist Rae Huang notched support from 8% of those polled, while tech entrepreneur Adam Miller drew 6%.

Despite Bass’ lead, the poll is “borderline catastrophic” for her, because the field of candidates is so weak, said Dan Schnur, a politics professor at USC, UC Berkeley and Pepperdine.

“That she’s having this much trouble against this field, against such a little-known field of opponents, bodes very, very poorly for her,” Schnur said. “The only thing saving her at this point is that the top tier of potential candidates who were considering running against her decided to stay out of this race.”

The mayoral race solidified in early February, when Raman shocked the political establishment by jumping in against her ally Bass, hours before the filing deadline.

By that time, other well-known politicians, including billionaire developer Rick Caruso and L.A. County Supervisor Lindsey Horvath, had opted to stay out of the race. Former Los Angeles schools Supt. Austin Beutner dropped out following the death of his 22-year-old daughter.

Those decisions have left Angelenos with a field of candidates they hardly know. While they have strong views about Bass, slightly more than half of those polled said they didn’t know enough about Raman to have an opinion. Even more voters were unfamiliar with the other candidates.

Bass was on a diplomatic trip to Ghana when the Palisades fire ignited on Jan. 7, 2025, killing 12 people and destroying thousands of homes. She was unsteady in her initial public appearances and has since come under attack by Pratt, Caruso and others over the LAFD’s management of the fire and the pace of the recovery as well as allegations that she ordered an after-action report on the fire to be watered down.

Bass’ campaign has pointed to declining homelessness and crime as among the successes of her first term as mayor.

“It’s clear Angelenos are frustrated by decades of inaction on major issues,” Douglas Herman, a spokesperson for the Bass campaign, said in a statement. “This campaign will show that it’s Karen Bass who changed the direction on these issues and that others running responded with reports while Karen Bass took action.”

Raman, who represents Los Feliz and parts of Silver Lake and the San Fernando Valley, was viewed favorably by 26% of those polled and unfavorably by 23%. The 51% who said they didn’t have an opinion of her could be an indication that she has yet to expand her name recognition citywide.

She has said that her decision to run was driven in part by her frustration with city leaders’ inability to get the basics right, such as fixing streetlights and paving streets.

“I am very grateful that our campaign to make our city more affordable is resonating with so many Angelenos,” she said in a statement.

Former City Councilmember Mike Bonin, who runs the Pat Brown Institute for Public Affairs at Cal State L.A., said that after the shock of Raman’s entry into the race, the mayoral campaign has taken on a sleepier pace.

“Candidates are raising money and doing their due diligence … but it’s felt like a staid, quiet race,” he said. “This poll reflects that.”

Bonin said the most important number is the gap between Raman and Pratt.

If no candidate gets more than 50% of the vote in the primary, the top two finishers will proceed to a November run off. According to Bonin, Raman and Pratt will likely be jockeying to face off against Bass.

“While voters are clearly looking for an alternative [to Bass], they haven’t chosen one,” Bonin said.

The poll showed Bass — the city’s first female mayor and first Black female mayor — with strong support from Black voters, at 43%, while Raman has 6%.

Raman, who if elected would be the city’s first South Asian mayor, leads with Asian and Pacific Islander voters at 34%, with Bass at 10%.

Bass performs better with older voters, while Raman and Huang are appealing to younger voters, the poll found. Huang led the pack at 19% with voters between 18 and 29 years old.

In the poll, Angelenos ranked their top priorities for the next mayor to address. Building more affordable housing came in first, followed by fixing streets, sidewalks and streetlights and then moving homeless Angelenos indoors.

One potential bright spot for Bass was policing.

The poll found that 39% of Angelenos think the LAPD needs to increase in size, with 29% saying the department should stay the same size and 19% saying it should shrink.

Bass has called on the City Council to hire more police officers.

Raman, meanwhile, has said that she believes the police force is the right size at around 8,700 officers, down from a peak of 10,000 in 2020.

“Bass is going to make Raman look like AOC’s liberal sister,” said Schnur, referring to progressive U.S. Rep. Alexandria Ocasio-Cortez (D-N.Y.). “If she ends up in a runoff against Raman, she can run as a tough-on-crime centrist.”

The Los Angeles chapter of the Democratic Socialists of America will not endorse a candidate for mayor.

After City Councilmember Nithya Raman decided at the last minute to run against her former ally Mayor Karen Bass, the group called a vote on whether to reopen the endorsement process, which it had closed without supporting a candidate.

DSA-LA backed Raman’s two successful city council runs, but she has been at odds with the group on some issues.

Also in the mix was another mayoral candidate, community organizer Rae Huang, whose positions align more closely with those of the group.

The two candidates were present for Saturday’s vote at Immanuel Presbyterian Church in Koreatown, though neither spoke.

The left-wing organization, which has about 5,000 members, is known for running strong ground game campaigns that include canvassing, door-knocking and phone banking. In addition to Raman, three other DSA-backed politicians now sit on the 15-member City Council.

Before the vote, DSA-LA members argued for and against reopening the endorsement process.

“The worst thing we can do right now for our movement is to say, ‘Well, actually, we’re not going to endorse Rae or Nithya. We’re going to do a third thing, which is to issue no endorsement.’ Who is the audience for this message?” said Leslie Chang, a co-chair of DSA-LA.

DSA-LA member Anna Gross argued that neither candidate was ideal, with Huang, who has little political experience, being a long shot and Raman hesitating to fully embrace the group.

“I do want a democratic socialist mayor, but as it stands, we have one candidate who is not going to win … and a candidate who will not openly identify as a democratic socialist,” Gross said.

Of the 488 members who voted Saturday, about 55% supported reopening the endorsement process, falling short of the required two-thirds majority.

If the process had been reopened, the group would have then voted on whether to endorse Raman, Huang or neither.

Huang’s earlier attempt to get the endorsement while the window was still open had failed because she did not obtain enough valid member signatures to qualify.

If the race is not decided in the June 2 primary, DSA-LA can still endorse a candidate in the runoff.

Besides Bass, Raman and Huang, the field of 14 candidates includes conservative reality TV star Spencer Pratt and tech entrepreneur Adam Miller.

Some members believed that a mayoral endorsement would take resources away from the slate of six local candidates they have already endorsed.

In city council races, DSA-LA is backing incumbents Hugo Soto-Martínez and Eunisses Hernandez; Faizah Malik, who is running against incumbent Traci Park on the Westside; and Estuardo Mazariegos for an open South L.A. seat.

The group is also backing Marissa Roy, who is challenging City Atty. Hydee Feldstein Soto, and Rocío Rivas, an incumbent L.A. Unified school board member.

Los Angeles County’s chief executive officer Fesia Davenport, who has been on medical leave since October, has announced that she will resign next month.

In a LinkedIn post, Davenport said she was leaving county service to “focus on my health and wellness.”

A notice to the Board of Supervisors provided to The Times Saturday said she had decided to step down April 16 “based primarily on hereditary and ongoing health issues initially uncovered late last year, the risks of which have become clearer based on more recent medical testing and consultation with my doctors.”

She said the “extraordinary amount of time and energy” required of the chief executive played into her decision.

“Although I originally assumed that I would be able to return to my post, I now know that I would be unable to do the job as it deserves to be done while also prioritizing my health,” she told the supervisors.

Supervisor Kathryn Barger issued a statement Saturday saying, “I’m disappointed by Fesia Davenport’s decision to step down. Her dedication and accomplishments over nearly three decades have left a lasting impact on Los Angeles County.”

Davenport, who was appointed to the county’s top job in 2021, received an undisclosed $2-million settlement last summer to compensate for damage to her “professional reputation” from Measure G, a voter-approved ballot measure that will soon eliminate her position.

In a July 8 letter, released by the county counsel in October through a public record request, Davenport said she sought $2 million in damages for “reputational harm, embarrassment, and physical, emotional and mental distress caused by the Measure G.”

Under Measure G, which voters approved in 2024, the county chief executive, who manages the county government and oversees its budget, will be elected by voters instead of appointed by the board. The elected county executive will be in place by 2028.

Measure G “has had, and will continue to have, an unprecedented impact on my professional reputation, health, career, income, and retirement,” Davenport wrote to county counsel Dawyn Harrison. She said it had “irrevocably changed my life, my professional career, economic outlook, and plans for the future.”

At the time the payout was disclosed, Davenport had begun a medical leave, saying at the time she expected to be back to work early this year.

A lengthy email to her staff, posted on LAist, which first disclosed her resignation, said the unspecified “health crisis” has affected three of her siblings and posed risks to her that “have become clearer based on more recent medical testing and consultation with my doctors.”

Her brother Raymond died in 2018 after “experiencing a sudden health crisis,” she said. Last year, two more of her sisters survived the same health crisis, but one will now require 24-hour care for the rest of her life, she said.

“Although I am not out of the woods yet, I am thankful to the Board for granting me the space to focus on my health and to arm myself with the knowledge I needed to make informed decisions,” she wrote.

The office of chief executive issued a statement Saturday saying chief operating officer Joe Nicchitta will continue serving as acting chief executive officer while Davenport remains on medical leave.

“We appreciate Fesia’s nearly three decades of service to Los Angeles County and all that she has accomplished on behalf of its residents and communities,” the statement said.

Davenport listed a number of accomplishments in her letter to the board, including setting up five new departments maintaining the county’s credit rating when other jurisdictions were being downgraded and “balancing the budget while developing a financing plan to compensate sexual assault victims — the largest settlement of its kind in American history.”

That payout has now come under scrutiny after a Times investigation found that some plaintiffs had been paid to join the class-action lawsuit.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, with an assist from Libor Jany and Howard Blume, giving you the latest on city and county government.

It was a dramatic moment for City Hall: Council President Marqueece Harris-Dawson, appearing at a meeting about reining in certain traffic stops by police, revealed that he had been pulled over only two days earlier.

Harris-Dawson, who is Black, told his colleagues that police have stopped him four times since he took office in 2015. During the most recent incident, he said, an officer asked him a number of questions, including, “How do you have this vehicle?”

“It was as traumatic on Wednesday as it was when I was 16,” Harris-Dawson said at the March 6 committee meeting.

It wasn’t the Los Angeles Police Department that pulled over Harris-Dawson’s car, a Tesla Model Y with a government license plate. Instead, it was an officer from the L.A. Unified School District police, who began trailing him while he was heading to work on the freeway, Harris-Dawson said recently.

The district has provided minimal details, and its police union has not commented. But the union that represents nearly 8,700 LAPD officers, known for its bare knuckle politics, is now deeply involved.

Ricky Mendoza, president of the Los Angeles Police Protective League, urged Dist. Atty. Nathan Hochman on Thursday to investigate whether Harris-Dawson attempted to resist, delay or obstruct the officer who carried out the traffic stop, in violation of state law.

Mendoza pointed to a California Post story that accused Harris-Dawson of contacting an unnamed school board member during the incident “in an apparent effort to get out of the citation.”

Tom Saggau, a police union spokesperson, said Harris-Dawson was caught driving “recklessly” in a school zone — and should have disclosed it during his remarks about the incident.

“Mr. Harris-Dawson’s testimony implied LAPD pulled him over because of his race, not his driving behavior,” Saggau said in an email. “That implication painted our minority-majority membership as racist, and we will always stand up for our membership and correct falsehoods and other tall tales.”

Harris-Dawson, for his part, told The Times he received the citation for attempting to enter a left turn lane too early — before it was actually marked as a turn lane. That maneuver did not pose a threat to anyone, he said.

Harris-Dawson said he did contact other people during the traffic stop, to ensure he had real-time witnesses. He would not provide their names.

“I called several people during that encounter so that there was a record of it besides myself,” he said.

The Times reached out to the school board about the police union’s claims. Four of the seven, either in person or through a representative, said they did not talk to Harris-Dawson about the stop.

The dispute comes as the council is weighing new limits on “pretextual stops,” where officers use a minor violation as justification to pull someone over and then investigate whether a more serious crime has occurred. The stops have disproportionately affected Black and Latino drivers, and the LAPD has scaled back their use over the past decade.

At the meeting where Harris-Dawson revealed he had been pulled over, two council committees were discussing next steps on the issue.

On Thursday, a Harris-Dawson aide hit back at the union, accusing the group of trying to divert the public’s attention away from that work.

“Just like pretextual traffic stops, the call for these pointless investigations violates the public trust, is wholly ineffective, and wastes precious resources that could be used to keep us safe,” said Harris-Dawson spokesperson Cerrina Tayag-Rivera in a statement this week.

Asked about his recent experience with the school police, Harris-Dawson said: “It’s not up to the driver to determine if a stop is pretextual, but it felt pretextual.”

School district officials have offered only minimal information about the incident.

“During our morning school drop-off, a Los Angeles School Police Department officer conducted a traffic stop based on an observed moving traffic violation in the vicinity of one of our high schools and issued the driver a citation,” the statement said.

Harris-Dawson told The Times that the encounter began the morning of March 4, during his drive from his South L.A. home to City Hall, when he noticed a white, unmarked car following him on the northbound 110 Freeway.

He took the Adams Boulevard offramp, turned right on Adams and headed toward Main Street, with the unmarked car following him through multiple intersections. When he turned left on Main, the officer turned on his lights and pulled him over, he said.

The officer walked up to the car with his hand on his gun and told him to roll down the windows, Harris-Dawson said.

“Because it was an unmarked car … I thought I was dealing with Immigration and Customs Enforcement,” he said.

Harris-Dawson said the officer told him that he had illegally crossed the double-yellow line in the center of the street, preparing to turn left before his car was actually in the marked left-turn lane.

The intersection is four blocks from Santee High School.

Harris-Dawson said the officer asked him how he came to possess the car. He informed the officer that it was a city vehicle and that he sits on the council. He handed the officer his driver’s license and, at a certain point, demanded it back.

The officer refused twice, Harris-Dawson said.

“He said, ‘Are you accusing me of taking your property?’” Harris-Dawson said. “I said, ‘That’s absolutely what I’m accusing you of.’”

Harris-Dawson said he was cited for violating the state vehicle code that prohibits motorists from driving the double-yellow lines.

“That stop was not about traffic safety,” he said, adding: “It was an investigative stop where the officer decided to give a citation, frankly, because I failed the attitude test.”

Harris-Dawson said through his spokesperson that he has paid the $238 citation. Asked if he is considering any legal action, he responded: “I’m weighing all my options.”

Meanwhile, Mendoza said he wants not just the D.A. but also City Atty. Hydee Feldstein Soto to investigate Harris-Dawson’s behavior during the stop, determining who he called, what he said, and whether the officer was contacted by a school board member.

The police union president said it’s “unethical and potentially illegal for a city leader to use their position of power to attempt to avoid accountability for their reckless driving in a school zone.”

The Police Protective League is well known for its heavy involvement in city politics, especially during election season. On the Westside, the union has already put nearly $500,000 into efforts to reelect Councilmember Traci Park.

The union has endorsed Mayor Karen Bass, a close ally of Harris-Dawson, but hasn’t been spending on her behalf.

Councilmember Hugo Soto-Martínez, who sits on the council’s public safety committee, said he believes the union is trying to “bully” Harris-Dawson, to ensure that others remain silent about pretextual stops.

“I think the council president is very courageously bringing up a reform on one of the most racist practices” in the LAPD, he said.

State of play

— DROPPING CHAVEZ: The bombshell New York Times report that found that labor organizer Cesar Chavez sexually abused minors left the state’s elected officials scrambling to rename streets, buildings and of course, the holiday itself. In L.A., Bass and several council members said they would rename the March 31 holiday “Farm Workers Day,” a move also backed at the county level by Supervisor Janice Hahn. Meanwhile, Raul Claros, running for an Eastside council seat, said Cesar Chavez Avenue should be renamed Dolores Huerta Avenue.

— DEMS WEIGH IN: The L.A. County Democratic Party threw its endorsement behind Bass and Councilmembers Eunisses Hernandez, Katy Yaroslavsky, Monica Rodriguez, Hugo Soto-Martínez and Tim McOsker. The group also backed several newcomers: Marissa Roy for city attorney, Zach Sokoloff for city controller and council candidates Barri Worth Girvan and Jose Ugarte.

— PLUS THE COUNTY: The Dems also threw their support behind four countywide candidates: Sheriff Robert Luna, Assessor Jeffrey Prang, Supervisor Lindsey Horvath and State Sen. Maria Elena Durazo, who is running to replace termed-out Supervisor Hilda Solis.

— SPEAKING OF WHICH: It’s been pretty clear from the past year that Horvath is not a fan of Bass, offering bracing critiques of the city’s approach to homelessness and other issues. But her four colleagues — Hahn, Solis, Kathryn Barger and Holly Mitchell — have all lined up behind the mayor’s reelection, according to a campaign announcement issued Friday.

— POLICE PAYOUT: A jury awarded $5.9 million to a former LAPD commander who claimed she was wrongfully fired over an alcohol-fueled incident in 2018. The commander, Nicole Mehringer, said she was held to a different standard than her male colleagues, losing her job after being arrested on a charge of public intoxication.

— MINDING MEASURE ULA: Councilmember Ysabel Jurado was named the chair of a new three-member ad hoc committee formed to take a fresh look at the impacts of Measure ULA, the 2022 tax on high-end property sales. She will be joined by Councilmembers John Lee and Imelda Padilla in examining the measure, which has been criticized by real estate leaders.

— HOLLYWOOD’S HOMELESS: Bass and Soto-Martínez celebrated the opening of a new homeless services hub on Hollywood Boulevard to help unhoused residents shower, find new clothes, obtain meals and receive help finding an apartment or a bed in an interim housing facility.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to address homelessness went to South Los Angeles, focusing on the area around Broadway and 23rd Street, according to the mayor’s team.
• On the docket next week: The council meets Tuesday to discuss its strategy for complying with Senate Bill 79, which seeks to add taller, denser apartments within a half mile of rail and dedicated bus stops.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

The same day she announced her surprise bid for mayor, Los Angeles City Councilmember Nithya Raman called a member of the local Democratic Socialists of America chapter.

She wanted to meet with the group’s leadership to explain her late-breaking decision to challenge Mayor Karen Bass, her longtime ally, which took just about everyone in the city by surprise.

Two days later, Raman gathered at her Silver Lake home with leaders of DSA-LA, which has endorsed her two runs for City Council but has been at odds with her on some issues.

Leslie Chang, a co-chair of the 5,000-member chapter, recalled Raman saying, “‘The media is going to paint me as a DSA candidate, and I have a relationship with you, and I’m interested in maintaining that relationship. So let’s talk.’”

DSA-LA, which had declined to endorse in the mayor’s race, will decide on Saturday whether to reopen its endorsement process.

Some members believe that a mayoral endorsement would take valuable phone-banking and door-knocking resources away from the slate of six local candidates they have already endorsed.

If the process moves forward, the question would then be whether to back Raman or Rae Huang, a housing activist viewed by some members as more aligned with socialist principles, while others see her as less electable. The group could also decide not to endorse either candidate.

Leslie Chang, co-chair for the Los Angeles chapter of the Democratic Socialists of America, at a rally at Molina Grand Park in Los Angeles on March 18.

(Gina Ferazzi / Los Angeles Times)

Going to bat for a mayoral candidate would be the highest-profile drive the local organization has run in a city where its influence has expanded since it knocked on doors for Raman’s first council campaign in 2020. In addition to Raman, three other DSA-backed politicians now occupy seats on the 15-member City Council.

In New York, DSA member Zohran Mamdani was recently elected mayor on a platform of rent freezes and free city buses.

“It would be a major coup for DSA to have one of their candidates be elected mayor [of Los Angeles],” said Sara Sadhwani, a politics professor at Pomona College.

The Rev. Rae Huang, who is running for mayor of Los Angeles, joined the Fair Games Coalition to announce the launch of the Overpaid CEO Tax Initiative in front of the Tesla Diner in West Hollywood on Jan. 14.

(Genaro Molina / Los Angeles Times)

As a city council member, Raman has delivered several major wins celebrated by DSA members, including strengthening renter protections and passing the first reform to the city’s rent stabilization ordinance in decades.

But she has sometimes been out of step with the group, approving budgets that increased police spending and seeking to revise Measure ULA, also known as the city’s “mansion tax,” to offer a 15-year exemption to developers of multifamily and commercial projects.

Raman’s most visible split with DSA occurred over the Oct. 7, 2023, Hamas attack that killed more than 1,200 Israelis.

DSA released a statement saying “this was not unprovoked.” Raman called the statement “unacceptably devoid of empathy for communities in Israel.”

In early 2024, DSA censured Raman for seeking and accepting an endorsement from Democrats for Israel-Los Angeles, a liberal Zionist group, chiding her for “accepting support from [DSA’s] enemies.”

“Why are people wary of endorsing Nithya for mayor? A lot of people who were in leadership at the time are hesitant because of that situation,” said Noah Suarez-Sikes, a member of DSA-LA’s steering committee.

In a statement to The Times, Raman called herself an “independent leader.”

“While I share the DSA’s emphasis on uplifting the working class and those who have been left behind by the political establishment, I don’t always agree with my allies on how to accomplish our goals,” she said.

Some DSA members see Huang, who has little citywide name recognition or political experience, as more connected to the group’s platform than Raman. Huang has called for “Fast and Free Buses” as well as for more public input on the city budget.

Huang highlighted her support for keeping the “mansion tax” as is, also telling The Times that she would reduce the Police Department budget and the number of officers.

Raman has said she believes the Los Angeles Police Department should maintain its current staffing of around 8,700 sworn officers.

Konstantine Anthony, a DSA member and Burbank City Council member who gathered signatures to reopen the endorsement window, is supporting Huang.

“She is the exact candidate DSA across the country should be running for every seat,” he said.

Keshav Kundassery, a DSA member since 2019, supports Raman.

While he called Huang’s campaign for mayor “inspiring,” Kundassery said he does not think that she can get enough support.

“DSA should be in the business of running campaigns to win,” he said.

DSA-LA has already endorsed in four city council races, backing incumbents Hugo Soto-Martínez and Eunisses Hernandez; Faizah Malik, who is running against incumbent Traci Park on the Westside; and Estuardo Mazariegos for an open South L.A. seat.

The group is also backing Marissa Roy, who is challenging City Atty. Hydee Feldstein Soto, and Rocío Rivas, an incumbent L.A. Unified school board member.

“Any consideration we make now we will make understanding the balance of resources of our six candidates and a potential seventh,” said Chang, the DSA-LA co-chair.

Times staff writer David Zahniser contributed to this report.

California’s economy might see a boost from the state’s expanded film tax credits, but local lawmakers say it’s not enough.

Despite Gov. Gavin Newsom authorizing a $750-million film and TV tax credit program last summer, the impending merger between Paramount and Warner Bros., and the projected budget cuts that are expected to follow, has reignited fears about Hollywood jobs and U.S.-based productions.

“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” U.S. Sen. Adam Schiff (D-Calif.) said during a news conference Friday morning.

“We must act, and the urgency could not be greater,” he said. He revealed he is working on a bipartisan federal film incentive proposal that would be competitive with what other countries are offering for film productions.

He said the program isn’t about Hollywood’s stars; it’s about the jobs that productions create, including roles for set designers, carpenters and lighting crews.

“These are the people who make that magic happen. We want to keep those jobs here, and many of us are deeply concerned about what this potential merger will do to those jobs,” Schiff said.

Earlier this week, the California Film Commission revealed that 16 shows had recently received tax credits for filming in the state. The projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. Schiff said the state tax credit has generated more than $29.1 billion in motion picture production wages and supported more than 220,000 jobs.

Even as shows start to see gains in Southern California, Los Angeles film activity was still down 13.2% from July through September when compared with the same period in 2024. The downward trend extends the loss of 42,000 jobs in L.A. between 2022 and 2024, the continued suffering of local sound stages and the offshoring of productions internationally.

“Federal policymakers must act to level the playing field and make the U.S. film and television industry more competitive on the global stage,” said Matthew Loeb, the president of the International Alliance of Theatrical Stage Employees. “A globally competitive labor-based and tax incentive is. For us, production that supplements state incentives is essential to return and maintain film and television jobs in America.”

HBO Max’s medical drama “The Pitt” is filmed at one of Warner Bros. soundstages in Burbank and it’s one of the shows benefiting from California’s tax incentive.

Noah Wyle, the star and executive producer of the show, said during the news conference that “it’s really hard to shoot a TV show in Los Angeles, and it’s really expensive, prohibitively” — so adopting an economic model that allows productions to take full advantage of the California tax incentive was essential to “The Pitt” filming in L.A.

“As an Angeleno with generational roots to this city and as a seasoned member of its creative community, advocacy for Los Angeles-based production is something that is very close to my heart,” Wyle said.

“‘The Pitt’ has blessedly become proof of that speculative concept. I’m happy to report we’ll commence shooting season three this summer, and that a rising tide has indeed lifted all boats in season one under the 3.0 tax program,” he added.

The show received a 20% tax rebate on many above-the-line costs. The budget for one episode was approximately $6.6 million, so the show received a rebate of about $760,000 per episode. By the end of season one, the production was able to save over $11 million. Wyle estimated that the first season of “The Pitt” contributed around $125 million toward California’s gross domestic product.

Rep. Laura Friedman (D-Glendale), who is working with Schiff on production tax incentives, said that because California is already seeing benefits from the current program, there’s no reason it wouldn’t work nationally. Friedman added that tax incentives are a common practice among many industries in the U.S.

“Hollywood is not asking for special treatment. Whether it is computer chips, the energy sector or pharmaceuticals, this is something that is standard in the United States,” said Friedman. “In terms of our nation, Hollywood and its ability to tell the story of America, it is something worth saving.”

Inara George looks back on it now as wistfully as someone remembering a love affair or a semester abroad.

“It was at this tiny theater on Pico near LaBrea, next to a barbecue place,” she says. “Our backstage was behind the theater, so we’d sit out there wearing these crazy corseted outfits while the guy next door was smoking brisket.”

A fixture of the Los Angeles music scene known for her solo records and as half of the Bird and the Bee, George is recalling the summer she spent working as a 20-something actor in “The Wandering Whore,” a musical set in 18th century London by composer Eliot Douglass and lyricist Philip Littell that played L.A.’s Playwrights’ Arena in August 1997.

“There was a scene where I die,” George adds, “and then I get reanimated by a ghost and someone pays — I don’t know if you need to put this in the article — someone pays to have relations with me.” She sighs.

“It was just such a rich time.”

Three decades later, George’s warm feelings for that era — and especially for the duo who soundtracked it — have led to an exquisite new album, “Songs of Douglass & Littell,” on which she sets aside her own songwriting to interpret nine tunes by these under-the-radar veterans of West Coast musical theater: searching, funny, vividly emotional songs like “Tired Butterfly,” about a busy insect in search of “a little nap,” and “The Extra Nipple,” which ponders a “harsh encounter with another heart.”

Think of the record as George’s take on one of Ella Fitzgerald’s classic “Song Book” LPs from the late ’50s and early ’60s, when the jazz star was systematically enshrining the work of Cole Porter, Irving Berlin and other authors of the Great American Songbook.

“These men deserve to have some attention,” George says of Douglass and Littell, the latter of whom she’s known since she was a little girl performing in plays at Topanga Canyon’s Theatricum Botanicum. “I want to give them their flowers.”

Yet if the album is rooted in the creative awakenings of George’s youth, it’s also the 51-year-old’s way of embracing middle age.

Inspired by singers like Helen Merrill and Chet Baker — “Elis & Tom,” a 1974 duo album by Brazil’s Elis Regina and Antônio Carlos Jobim, was another touchstone — George turns on “Songs” from the Bird and the Bee’s blippy electronica and the folky pop of her solo work to a jazzier sound that puts her cool, breathy vocals amid piano, strings and horns.

“This is a grown-up record,” says George, who shares three teenage children with her husband, the movie director Jake Kasdan. “I don’t want to be making music that makes me feel like I’m trying to be younger — I wanted to make something that makes me feel my age.”

Inara George at home this month.

(Christina House / Los Angeles Times)

The singer is at home near Griffith Park on a recent afternoon; with her kids at school and Kasdan away on a film shoot, the house is quiet, though signs of music are everywhere: a drum set, a grand piano, a guitar once owned by George’s late father, Lowell George, who founded the cult-fave L.A. rock band Little Feat and who died of a heart attack when Inara was only 4.

“As a woman, it’s a weird time in life — there’s something in-between about it,” she says. “Even the question of what do you wear. When you’re younger, you’re like, I’m gonna wear a dress — is it sexy, is it cute? Now, all of a sudden, all I want to do is wear suits.” She laughs.

Douglass, who plays piano on the new album, hears a “groundedness” in George’s singing all the more remarkable given that the arrangements represent “a new kind of school for her,” he says. “I was wondering how she would approach it, and she’s done it with such aplomb and wisdom.”

On Friday night, Douglass will accompany George — along with more than a dozen other players — in a record-release concert at Largo at the Coronet, with proceeds going to the nonprofit LA Voice, which seeks to organize voters on issues related to immigration and affordable housing.

George happily describes “Songs of Douglass & Littell” as a passion project. “I think you get to a certain point where selling a million records is not your intention,” she says. “Obviously, I wouldn’t make a record like this if I had that intention.” (Counterpoint: the arena-filling success of Laufey.)

“I’m just about the experience,” she adds, “and this has been an amazing experience.”

The experience began one night a few years ago when George hosted a wine-soaked reunion of performers who’d worked with Douglass and Littell back in the ’90s on shows like “The Wandering Whore” and “No Miracle: A Consolation,” the latter a song cycle rooted in the losses of the AIDS epidemic.

Philip Littell, from left, Eliot Douglass and Inara George.

(Thomas Heegard)

After her years of childhood dramatics at the Theatricum — Littell remembers meeting “this bird of a girl with these huge eyes” — George had gone to Boston’s Emerson College to study acting but dropped out and returned to L.A., where she eventually made her name as a musician. (In addition to the Bird and the Bee, her duo with the Grammy-winning producer Greg Kurstin, she’s also played with the Living Sisters and sung with Foo Fighters.)

Yet her postcollege stint in the experimental theater scene always stuck with her, she says. Reconnecting with Littell, whose other work includes the libretto for André Previn’s operatic adaptation of “A Streetcar Named Desire,” and Douglass, who played piano for years with Cirque du Soleil, got George thinking about how she might help preserve their music and bring it to a modern audience.

In 2024, she put together a trio for an intimate gig at Pasadena’s Healing Force of the Universe record store; her old friend Mike Andrews, who produced her solo albums, was there and told her they should record the material. Given the number of ballads she’d worked up, George asked Douglass and Littell to write a couple of new uptempo tunes; among the ones they came up with was the frisky “La Lune S’en Va.”

Does George speak French?

“Not at all,” she says, smiling. “But Philip does. It’s so fun — I was like, ‘Yeah, I’ll take it.’ I think the pronunciation’s OK.”

She and a small crew of musicians cut the album live in the studio over three days — in part an attempt to capture some energy, in part an acknowledgment of an economic reality.

“Is music just a hobby for me now? Yeah, it is,” says George, who’s putting “Songs” out through her own label, Release Me Records. “I mean, I’m spending money to do it.” She worries about the disappearance of music’s middle class even as she notes happily that “Again & Again” by the Bird and the Bee “recently had a little TikTok moment,” as she puts it. (With 86 million streams, it’s the duo’s most popular track on Spotify, followed by an ethereal cover of the Bee Gees’ “How Deep Is Your Love.”)

Yet all that seems less important to George than taking the opportunity to honor “these incredibly talented, very sensitive people” who she says shaped the artist she became.

“Their songs just mean so much to me,” she says of Douglass and Littell. “More than ever, this is the music I want to listen to.”