L.A.s

Last things first: Eve Babitz is a major minor L.A. writer who died five years ago at age 78. She spent nearly a quarter-century as a recluse, having suffered in 1997 a shocking and disfiguring accident while striking a match to light her Tiparillo. Her thin Indian skirt caught fire searing her panty hose into her flesh, leaving her with third-degree burns over more than half her body. She never published again, though many championed her gifts, including me. At the time of her misfortune, I was book editor of the Los Angeles Times. I had long admired her, especially the rollicking and indispensable “Slow Days, Fast Company,” first published in 1977, a charming and insightful series of stories bursting with pluck and sass. I recommended to John Carroll, the then-editor of the paper, that he make her a columnist and urged Babitz to write him directly. She did, and that letter from October 2000 is the last included in “Too L.A.: Letters Never Sent (But Some Were),” a book of letters expertly edited and chosen by Lili Anolik. Babitz tells Carroll that “what the paper needs is some writers that cause such an uproar, people will have to read it in order to stay abreast of the edge.” Babitz knew what she was talking about. She’d been living on that edge since she was a teenager at Hollywood High in the late 1950s.

The posthumous resurrection of Babitz’s writings is most welcome. Yet there is a risk of overpraising her merits. She was an unabashed booster of the glossy L.A. that became synonymous with a rising creative elite whose élan and narcissism she found irresistible.

Lili Anolik makes the case in her perfervid introduction: “The letters are everything you could want” and often “profound” and “frequently brilliant, invariably amusing.” She says they deserve to be put on the short shelf next to Virginia Woolf’s imperishable “A Room of One’s Own” for they are “every bit as candid, every bit as lucid, every bit as brutal, every bit as delicate as Virginia Woolf’s celebrated manifesto.”

If only.

“Too L.A.: Letters Never Sent (But Some Were)” by Eve Babitz

(New York Review Books)

Regrettably, Anolik, who is almost singlehandedly responsible for Babitz’s literary exhumation, has so fallen in love with her subject as to almost blind her to Babitz’s defects, both with respect to her writing and to the life. With two previous books — “Hollywood’s Eve” (2019) and “Didion and Babitz” (2024) — prompted by Anolik’s riveting March 2014 Vanity Fair profile, Anolik has become Babitz’s greatest champion. Now with “Too L.A.,” a title taken from Babitz’s own over-oxygenated writing, she has gathered and edited a trove of letters. They brilliantly reveal Babitz’s eye for the deep shallow as well as explore the porous boundary between the largely self-inflicted injuries of her private life and the glittering sheen of her public persona. Babitz herself, on the strength of these 197 letters, only 30 of which she ever mailed, understood in a way Anolik doesn’t the limitations of her talents, even as she strives to slip the shackles of a mansplaining culture which at almost every turn tried to blunt her ambitions, both artistic and writerly, even as her editors and admirers sought (often with her ardent encouragement) to slip between her sheets.

Eve Babitz was born in 1943 to Hollywood neo-royalty. Her Brooklyn-born father, Sol, was first violinist for both the Los Angeles Philharmonic Symphony and then the 20th Century Fox Studio Orchestra. Sol would ultimately marry Lily Mae Laviolette, a beautiful Cajun Catholic shiksa willing to convert to Judaism. Eve’s godfather was Sol’s good friend Igor Stravinsky. When puberty burst upon her at age 14, Babitz’s blossoming made her a prime candidate for induction by the fast-track girls at Hollywood High who called themselves the Thunderbird Girls and cruised the Sunset Strip in their cool cars, looking for the main chance.

From left, Sol Babitz, Mae Babitz, Mirandi Babitz and author Eve Babitz gather at a launch party for her book “Slow Days, Fast Company” in 1977.

(Photograph by Paul Ruscha; courtesy of Mirandi Babitz / The Huntington Library)

At 20, Babitz posed nude playing chess with the fully clothed Marcel Duchamp to promote Duchamp’s retrospective exhibition at the Pasadena Art Museum. At the time, Babitz was having an affair with the museum’s 32-year-old married director, Walter Hopps, which perhaps explains Babitz’s reluctance to have her face photographed so as not to give the game away to Mrs. Hopps, who attended the opening. A month later, Babitz confides in an (unsent) letter: “Everything’s so fabulous for me now I can’t believe it. There’s nothing like two boyfriends to do it for you every time. There are such fabulous boys around and they take you out on dates and to movies and I feel just like a teenager. (I’m recapturing my lost youth.) I get to get dressed up and I flirt outrageously and put people on and I do things like look soulfully out the window and man it’s just too hoozie for words. … If only all of this could last forever — not that it will, but I can.”

She spent the rest of her life torn between the excitements of everyday life — cruising the hangouts du jour (Barney’s Beanery in the early 1960s where she met many of L.A.’s up-and-coming artists — Ed Kienholz, Billy Al Bengston, Laddie Dill, Peter Alexander, and the Ruscha brothers, Ed and Paul, both of whom she’d bed, Paul becoming an on-again, off-again boyfriend whose bisexuality made for a sometimes tenuous connection; and after seducing Jim Morrison before he became famous and later the Troubadour in the late 1960s which was a happy hunting ground — Steve Martin, Glenn Frey, Don Henley, J.D. Souther, Country Joe Mcdonald, Jackson Browne, to name only a few, and then Ports restaurant where she anchored a corner table) — and the seductions of drugs — uppers, acid (which she seemed to ingest with an alarming frequency), pot, of course, and then by the mid-1970s, tragically, an Everest of cocaine. She had entered what she aptly called the era of “squalid overboogie.”

Eve Babitz and her frequent companion Paul Ruscha celebrate the 1977 release of Babitz’s seminal “Slow Days, Fast Company.”

(Photograph courtesy of Mirandi Babitz / The Huntington Library)

The name-dropping is relentless and if, like me, you have an insatiable appetite for hoovering them up, this volume will not disappoint. Still, there are many pages of vapid jottings — “I cleaned the house, did the laundry, and vowed to quit smoking” — that suggest why Babitz was a failure as a novelist (see her dud “Sex and Rage”) and a superb writer of short stories and essays that stylishly plumbed the depths of her own sensibility precisely in the degree to which she was uninterested in other people.

Nearly 30 years after she stripped to please her married lover and startle the unsuspecting Duchamp, the father of Dada, and eight years after she joined AA in 1982 — the year her beloved father died of Huntington’s disease at age 70 which ultimately would also kill her — and gave up drugs and alcohol and (almost entirely) writing as well, which had always been seen by her as enabled by dope of one kind or another, she boasted that, looking back, “Everybody wanted to be me — they looked at me with yearning faces, and said, ‘Boy, you sure had fun.’ ” She was not entirely wrong. She had struck many admirers both then and now, as the quintessential California girl, a daughter of Dionysus, whose devotion to pleasure was free of misgiving or regret. She detested the East Coast avatars of apocalypse, like Nathanael West, who saw only doom and gloom in sunny L.A. Babitz, by contrast, saw things sunny side up. If Joan Didion was unsettled and made anxious by the hot Santa Anas that regularly kicked up, Babitz luxuriated in them, recalling how she and her sister would as young girls rush to embrace them, spinning madly round and round. In a 1977 unsent letter to Joseph Heller, who had championed her work when she had sent him an unsolicited fan letter after having read “Catch-22” when it was first published and she was barely 20, she declares proudly: “I’m a gossip storyteller who likes L.A. rather than hates it.” She refers to her “shallow nature,” writing that “I feel like an upstream salmon, determined to reach the shallow water, no matter how fast the river is running the other way.”

Eve Babitz, the ultimate Hollywood reveler, on Sunset Boulevard in 1980.

(Los Angeles Times)

On the evidence of these letters, she had two great loves: Ahmet Ertegun, a principal founder of Atlantic Records, and Tom Dowd, renown recording engineer and producer who worked for Ertegun. Of the two, Ertegun had the edge, if for no other reason than he came with buckets of dough, making possible assignations at his regular bungalow at the Beverly Hills Hotel with limo pickup and dropoff services, and the best champagne and other assorted stimulants. Ertegun was effortlessly elegant and erudite, and there was no one he didn’t know and who wouldn’t return his calls. He was married, age 45, 20 years older than Babitz, when they fell for each other in 1969. She began sleeping with him even as she agreed to profile him for Jann Wenner’s newly launched Rolling Stone. The writing didn’t go well. Wenner wanted a tougher piece than she was willing to write. Ultimately, she abandoned the assignment, claiming (not unreasonably) that she didn’t see how she could write objectively about a man she loved.

Babitz courted danger with heedless bravado and exemplary recklessness. She once had the moxie to rid herself of a would-be rapist: When told not to scream, she said with unimaginable sangfroid: “Why not?” The man bolted. It might be said of Babitz, as Oscar Wilde said of his life, that she spent her talent on her writing and reserved her genius for her life. Sculpting her natural gifts of wit and brazenness into a living artwork dazzled all who came within her orbit. Her lust for life was palpable. The letters are proof. She came at people without fear. She left them without apology. She was the boss of herself. She was the girl who seemed to have it all. The only thing she lacked was inexperience.

Wasserman, a former book editor of the Los Angeles Times, is publisher of Heyday Books, a nonprofit, independent publishing house founded in 1974 in Berkeley. He is the author of “Tell Me Something, Tell Me Anything, Even if It’s a Lie: A Memoir in Essays.”

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

I have been writing this newsletter, most weeks, for more than 10 years now. I wouldn’t even want to do the math on how many of them that would be, or just how many movies I have written about. That count is about to come to a close as this is the last one.

Don’t worry: I will still be covering the world-class scene of moviegoing in Los Angeles as well as writing about a broad swath of films and filmmakers, just finding new ways to go about it.

When this newsletter began, it was a catch-all for movie coverage and related events from The Times and eventually settled into a curated survey of the best new releases each week. We helped figure out what you should go see. As theaters reopened following the closures forced by the pandemic, the repertory scene in Los Angeles exploded, with new audiences turning out for old movies in astonishing numbers.

We followed their lead, flipping the focus of the newsletter to the rep scene while still keeping an eye on new releases. Venues around the city had a newly revived energy to match audiences’ enthusiasm. The Academy Museum opened with two gold-standard theaters, while the American Cinematheque expanded the number of screens it programs. (Just recently, it added the historic Village Theater in Westwood.) The Vista began bringing first-run films in 35mm and 70mm, along with classic movies. Vidiots opened in Eagle Rock, helping to redraw the map of L.A.’s movie-loving community.

The David Geffen Theater at the Academy Museum seats a thousand and is often fully attended.

(Ricardo DeAratanha / Los Angeles Times)

The city has also seen the rise of itinerant pop-up series such as Mezzanine, Acropolis Cinema and Hollywood Entertainment pulling off must-see events. Smaller venues such as Now Instant Image Hall, 2220 Arts + Archives, Eastwood Performing Arts Center, Brain Dead Studios and the Philosophical Research Society have made a home to all kinds of movies. The Laemmle and Landmark chains have continue to play traditional arthouse releases and international films, while the Frida and Gardena theaters bring great movies to the South Bay.

Entities such as Revival Hub and MovieTown do a vital job of collating extensive listings info. (We will also continue to give monthly overviews of the best movies to see.) This is simply an incredible time for going to the movies in Los Angeles, arguably the best ever.

My main takeaway from the experience of working on this newsletter is confirmation of my belief in the movies themselves and the community of people around them. I was recently at a sold-out screening of Akira Kurosawa’s “Ran” and the idea of sitting with nearly a thousand other people watching a Japanese movie from the 1980s, each connecting to the events on screen in their own way, was deeply inspiring.

Among my favorite recent developments is how many venues now name the show’s projectionists as part of a screening’s introduction, which is always met with an enthusiastic round of applause. It is a reminder that what this is really about is people, dedicated to something we love.

And since this isn’t really a goodbye, it seems fitting to turn to the movies once again, as another week demonstrates why the scene here in Los Angeles is so truly special.

A tribute to Sam Neill

Sam Neill and Nicole Kidman on the set of 1989’s “Dead Calm.”

(Michael Ochs Archives / Getty Images)

Anyone looking for an example of just how intimate the screening scene in Los Angeles can be should make their way to the New Beverly Cinema on July 24. The theater already had a three-night double-bill of Rob Reiner’s “Misery” and Phillip Noyce’s 1989 thriller “Dead Calm” booked when news broke last weekend that actor Sam Neill had died at age 78.

The New Bev quickly announced that it would make one of those screenings into a tribute to Neill, who co-stars in “Dead Calm.” Director Noyce, along with co-star Billy Zane and filmmaker Roger Donaldson (who worked with Neill on 1977’s “Sleeping Dogs”) will all be there to celebrate their friend and colleague.

“Dead Calm” is a tight thriller set within the confines of a small sailing boat. Reviewing the movie when it was first released in 1989, Sheila Benson wrote, “Neill is probably one of the screen’s most underrated actors … ‘Dead Calm’ was probably far and away his nastiest assignment physically, yet his presence, sexuality and all, is absolutely vital to the balance of the story.”

Remembering the actor as part of a rundown of his greatest performances, Glen Whipp described Neill in “Dead Calm” as “part Cary Grant, part MacGyver.”

Two by Ross McElwee

Documentary filmmaker Ross McElwee in his 1986 movie “Sherman’s March.”

(Music Box Films)

Documentary filmmaker Ross McElwee helped to reinvent the form with his 1986 film “Sherman’s March,” which comes with the explanatory subtitle of “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation.”

Ostensibly a film about Union General William Tecumsah Sherman’s campaign of destruction during the Civil War, the movie actually ends up being about McElwee revisiting old girlfriends and forging a few new ones along the way, reflecting on his own campaign of romantic misadventure. As charming as it is revelatory, the movie is being rereleased in a new 4K restoration.

McElwee’s latest film, “Remake,” reflects on the death of his son Adrian and whether the director himself had a detrimental effect on the boy’s life. Reviewing “Remake,” Tim Grierson calls it “especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.”

A weekend with Robert Rodriguez

Quentin Tarantino, George Clooney and Salma Hayek in the horror movie “From Dusk Till Dawn.”

(Academy Museum)

The Academy Museum will present “A Weekend with Robert Rodriguez” to celebrate the 30th anniversary of “From Dusk Till Dawn” and the 25th anniversary of “Spy Kids.” It speaks to Rodriguez’s undersung range as a filmmaker that one movie is a bawdy, gory comedy about a criminals on the run who encounter an ancient den of vampires, while the other is a family-friendly tale of two siblings who discover their parents are secret agents and must rescue them from a supervillain.

Rodriguez will not only be present to talk about both movies, he will be performing music each day with a different band.

Reviewing “From Dusk Till Dawn,” which was scripted by Quentin Tarantino, Jack Matthews said it was “a film nerd’s fever dream, a Frankenstein’s monster of used movie parts, deliberately mismatched styles, and deliriously implausible characters.”

Elaine May’s secret success

Dustin Hoffman and Jessica Lange in the movie “Tootsie.”

(Everett Collection / Columbia Pictures)

One of the most exciting things about the ongoing revival of L.A.’s repertory scene is the upheaval of the notion of the “canon.” What are the most lauded movies of all time and who gets to do the lauding? Case in point is the now widely accepted coronation of Elaine May as a towering creative figure, no longer relegated to being merely a fringe character unfairly saddled with the commercial failure of “Ishtar.”

May is credited as director on only four feature films, though she’s an uncredited writer on a number of other projects, perhaps most notably 1982’s comedy “Tootsie,” starring Dustin Hoffman as a struggling New York City actor who finds success when he lands a part by secretly posing as a woman. Directed by Sydney Pollack, who also makes a tremendous turn as Hoffman’s agent, the movie will be playing at Vidiots on Saturday.

Finding new moves

Wiley Wiggins and Patrick Riester in the movie “Computer Chess.”

(Kino Lorber)

The very first thing I ever wrote under the banner of Indie Focus was about how independent filmmakers such as Andrew Bujalski and Alex Ross Perry were working on 35mm at a time when mainstream Hollywood was very much forcing the idea of shooting on digital. So it only seems appropriate that this final edition of the newsletter should include something on Bujalksi, who has long been one of my favorite contemporary American filmmakers.

“Computer Chess,” Bujalski’s oddball experiment in using antiquated video equipment to tell a heady, offbeat story about a weekend chess tournament in the early ’80s, will screen in a 35mm print at Brain Dead Studios on July 24, presented by Mezzanine. Bujalski will be present, along with Blair Barnes, a filmmaker who will be showing the L.A. premiere of his short “sitrep,” also shot on an analog-era tube camera.

New this week

Matt Damon and Zendaya in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Sure to be one of the biggest movies of the year, Christopher Nolan’s adaptation of “The Odyssey” opens today. Los Angeles audiences have multiple venues to choose from that are showing the film in Nolan’s preferred Imax 70mm format — these theaters are among only a small number across the world that are doing this. Presenting a movie in Imax 70mm isn’t the easiest endeavor. Eloise Rollins-Fife has a report on how that’s actually done. Get your epic on.

Reviewing the movie, Amy Nicholson wrote, “Nolan refuses to tremble before the canon. Grabbing mighty scissors, he cuts and rejiggers Homer and a bit of Virgil to transform these classical texts into his type of tale: one fixated on memory, self-identity, destructive genius and the slippage of time. As ever, it’s light on sex, heavy on wine-dark angst.”

Kenneth Turan spoke to Nolan about the movie’s origins, saying, “I’ve been telling this story in all my films for years. It’s a family story, a love story, a revenge story, a war story, a coming-of-age story. It’s a very strong foundational text for me.”

For nearly a century, Sparkletts bottled its water in a vast building on Lincoln Avenue designed to look like a Moorish palace, or maybe an industrial oasis.

Now Sparkletts has moved out, the owners aren’t talking and L.A. city officials, hoping to save the building, have named the site a historic-cultural monument.

“We’ve always had an eye on the building because it’s such an icon in the community,” said Frank Parrello, Landmarks and Advocacy chair for the Eagle Rock Valley Historical Society. “We want to make sure that whatever happens in the future, the building is considered.”

The plant, which drew water from subterranean springs and bottled it for distribution through Southern California, went up in 1929 on E. Lincoln Avenue along the Eagle Rock-Highland Park border, filling the block between N. Avenue 45 and N. Avenue 46. Designed by architect Richard D. King, its main building features arches, towers and domes, a white-washed brick exterior and wrought-iron lanterns.

The L.A. Conservancy calls it a bold example of Moorish Revival industrial style and a prime illustration of “the industrialization of drinking water in Los Angeles.”

Neighbors call it “the Taj Mahal,” resident Anthony Carmona says.

The Sparkletts building, built in 1929, was designed in a Moorish Revival style. The building, idle since 2025, has been added to the L.A. City Historical-Cultural Monument list.

(Christopher Reynolds / Los Angeles Times)

Questions about the building’s future began to multiply in 2025, when Sparkletts ceased operations on the site. A 4.4-acre portion of the property was listed for sale, then for lease. The L.A. Conservancy warned that the building was “at risk of redevelopment.”

The Instagram site Save Iconic Architecture also sounded an alarm, saying the Sparkletts building “tells the story of Los Angeles’ innovation, design, and relationship with its most precious resource: water.”

Meanwhile, the Eagle Rock Valley Historical Society nominated the building as a historic-cultural monument, which led to a site visit and votes by the city of Los Angeles Cultural Affairs Commission and City Council.

On June 24, the council voted to protect the building as a monument. The designation “does not guarantee that the building cannot be demolished,” but it does allow city officials to delay demolition for up to 360 days “to allow for time to preserve the monument.”

The city Planning Department staff report on the historic monument nomination lists the owners as Sparkletts Drinking Water Corporation and Foremost Water Corporation. Neither commented to the city on the monument nomination and Primo Brands (Sparkletts’ parent company) did not respond to requests for information Monday.

The city’s staff report on the site says the architect may have been influenced by a Moorish design trend in the 1920s that included the film “The Thief of Bagdad” (1924). The El Capitan Theater on Hollywood Boulevard and Shrine Auditorium near USC, both completed in 1926, are also known for their Moorish features.

Architectural historians David Gebhard and Robert Winter included the Sparkletts building in their “Architectural Guidebook to Los Angeles,” noting its mosque-like presence and saying “the best remaining element” is the tiled mosaic oasis scene over the entrance.

The building has seen some changes. As the Eagle Rock Valley Historical Society nomination notes, the building’s largest Sparkletts sign was removed in July 2025. City records show that decades ago, in the course of repairs after the 1971 San Fernando earthquake, at least one minaret was removed.

The entrance, however, remains largely intact, featuring three arches and a set of steps framed by a pair of tall palm trees. Just above the front door and beneath a surviving Sparkletts sign hangs the tilework that Gebhard and Winter enjoyed.

Moreover, “it’s very impressive inside,” Parrello said. “It’s a big open industrial floor plan, which could be used for a lot of things.”

The Sparkletts building, idle since 2025, has been added to the L.A. City Historical-Cultural Monument list.

(Christopher Reynolds / Los Angeles Times)

If public agency or nonprofit is able to play a role in the property’s future, Parrello added, “it could become a housing complex, or a community center for a housing complex.”

A similar answer came from Carmona, 51, a restaurant worker who lives in an RV about a block away from the Sparkletts building. Carmona said he’d love to see it become a gathering place where neighbors can trade products, services, ideas, “lemons, oranges, whatever.” In a perfect world, Carmona said, “there should be free water for everyone, but of course that’s not going to happen.”

The city of L.A. began designated historic-cultural landmarks in 1962 and has given that status to more than 1,000 buildings and other structures.

The closure of the Eagle Rock Sparkletts operation followed a 2024 merger between Sparkletts’ parent company, Primo Water, and another bottled water company, BlueTriton, to from Primo Brands.

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

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

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

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

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

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

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

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

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

(Francine Orr / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OK, I’ll admit it. I’m going to miss Spencer Pratt.

I had never heard of the former reality TV star before he said God wanted him to be mayor of Los Angeles. And now that he’s out of the race, he’s still serving up lazy fastballs down the middle of the plate, calling the top two vote-getters — Mayor Karen Bass and Councilmember Nithya Raman — dummies and morons.

Quick question for Pratt: If you’re on record claiming that 9/11 was an inside job and the Sandy Hook massacre was a hoax, and you run for office in a deep blue city with President Trump’s backing but not much of a plan or even a clue as to what a mayor can or can’t do, should you be calling other people morons?

And yet the pouting Pratt pulled more than 200,000 votes. So sore loser or not, he tapped into a lack of faith in elected officials and simmering frustration with City Hall, which happen to be the essence of today’s column.

I have five questions for Bass and Raman. They’re somewhat inter-related and have to do with matters I hear about regularly from readers:

Infrastructure (sidewalks, streets, etc).

Homelessness (billions of dollars spent, and a long way to go).

Parks (L.A.’s national ranking for quality and accessibility just dropped again).

Trash and blight (no explanation needed, right?).

And focus. (Do the candidates have a clear set of goals and a plan for achieving them?)

We’ve got five months to visit and revisit these topics, and today I’m going to focus on the first, so here we go.

Infrastructure:

A few days ago, I met with Earl Ofari Hutchinson of the Los Angeles Urban Policy Roundtable. Hutchinson is a longtime community activist and commentator, and he had just launched a torpedo in the direction of City Hall.

“There are hundreds of busted, dangerous sidewalks in South L A that have gone unrepaired for years,” he wrote to his network of followers. “They cause hundreds of injuries, and have resulted in massive numbers of claims and payouts in settlements. LA City Officials must act now to jumpstart a crash program to fix these sidewalks.”

On my way to meet Hutchinson, I traveled west along Florence Avenue and saw dozens of typical rough patches on the street and sidewalks. But if there were a contest to identify the all-time worst sidewalks in Los Angeles, Hutchinson’s discovery of the one at 71st Street and 11th Avenue would be a Hall of Fame contender.

For starters, it’s got the classic uplift, and the villain is the usual suspect — ficus tree roots. A 20-foot slab of sidewalk is pitched sharply, as if designed by trip-and-fall lawsuit lawyers. Way back in 2014, in my early days on sidewalk patrol, I was able to crawl under a similarly ruptured sidewalk in West L.A., and I could’ve done the same at 71st and 11th.

But I thought better of it after Hutchinson peered into the opening and said it looked like a comfy home for rats and other vermin.

The homeowner, Sharon Kelly, can’t use her front gate because of the lopsided sidewalk. She let me borrow her tape measure, which revealed a 16-inch rise in the pavement.

“It keeps rising,” Kelly said. “But it was already lifted when we came here.”

That was in 1997. I asked if she’s called the city for help.

“Several times,” she said, and the only response was a slapdash temporary asphalt patch.

Hutchinson said residents have responded in force to his call for emergency sidewalks repairs, just as they did when he crusaded for a crackdown on widespread illegal dumping.

“Dozens of residents have come out of the woodwork, and here’s what they all say: ‘We have called our city council person and various city departments repeatedly, over and over again.’”

And the response?

“Nothing,” Hutchinson said.

While we were talking, two people with walkers steered clear of the worst spot near Kelly’s property. Charles McQuarn, 77, said traversing the neighborhood means zigzagging around all the hazards.

“I gotta come out into the streets, too,” he said.

When he was a teenager, McQuarn said, he worked for a community group that fixed sidewalks. I mentioned that Councilmember Monica Rodriguez has been using Conservation Corps youths to do the same, but it’s time to scale up that program and come up with other remedies to speed the process.

The city is fixing about 600 sidewalks each year, the backlog of requested repairs stands at about 30,000 and if you get onto the waiting list, you’re looking at about 10 years before help arrives.

When we were done on 71st Street, Hutchinson led me over to a nearby stretch of Florence where, for blocks and blocks, it appears as if there have been volcanic eruptions around the trees. Large chunks of cracked sidewalk form mounds, one after another. The Hutchinson Himalayas are a site to behold — a mile-long museum of municipal neglect.

And it’s been like this, Hutchinson said, “for years.”

The question for Bass and Raman: What will you do to speed the repairs?

Homelessness:

Voters have been generous when it comes to repeatedly taxing themselves more, and more, to address homelessness. There’s been Measure H, Measure A, Measure ULA and Proposition HHH.

Yet although billions of dollars have been spent and tens of thousands of people have been helped and housed, more than 40,000 people are homeless in the city and roughly 70,000 in the county. In her primary victory speech, Bass said families shouldn’t have to step around encampments, and Raman has said greater urgency is needed.

Questions for Bass and Raman: Why haven’t taxpayers gotten more for their money with the two of you at the helm, what are you going to do to speed progress and create more accountability, and what distinguishes you from each other?

Parks:

In the annual rankings by the National Trust for Public Lands, Los Angeles has dropped from 90th to a tie for 93rd in park investment and accessibility among the nation’s 100 most populous cities.

The City Council is about to consider a motion to increase park funding through charter reform (with dozens of community groups in support), and progress is ridiculously slow on an agreement to use schools as after-hours playgrounds.

Question for Bass and Raman: Do you support the charter reform, and what else are you going to do to address the sad state of the city’s parks?

Trash and blight:

In downtown L.A., vandalism, shuttered storefronts and post-COVID abandonment have crippled what was a vibrant, revenue-generating economy that benefited the whole city.

In Hollywood, a resident hired her housekeeper to help report illegal dumping of goods that are often used to construct more homeless encampments, leading to all sorts of problems.

On the south lawn of City Hall, a graffiti-tagged monument and fountain have been out of commission for most of the last six decades.

Question for Bass and Raman: At the very least, can you fix the fountain?

Focus:

Like any big city with great assets and unlimited challenges, many residents have a love-hate relationship with L.A. But years ago, someone told me he loves Los Angeles because it’s a messy, multi-cultural work in progress, set on a dramatic landscape between mountain and sea, trying to figure out what it wants to be.

Question for Bass and Raman: Whether in the realm of basic services or grand visions, what three or four primary objectives do you have over the next four years?

In other words, what do you want L.A. to be?

steve.lopez@latimes.com

When Republican Spencer Pratt burst into Los Angeles politics, venting a torrent of online fury against Mayor Karen Bass’ handling of the Palisades fire, he pitched his mayoral campaign as a full-bore challenge to L.A.’s political status quo.

The former reality TV star, who lost his home in the blaze, started as a long shot but emerged as a national story, with the ability to harvest social media attention, rally a base and dominate the news cycle.

But in a city overwhelmingly Democratic, where Republicans make up just 15% of registered voters, even some of his supporters wondered how far he could rise. In the end, voters selected Bass, a Democratic centrist, and democratic socialist City Councilmember Nithya Raman, who ran to Bass’ left, to face off in the runoff.

Still, for many of the 200,000 Angelenos who voted for Pratt, his brash, social media-fueled campaign was not just a long exercise in trolling. Pratt gave voice to their discontent with the system of one-party rule and said things they too often felt uncomfortable saying.

And now, they face a difficult choice of who to support in November.

“I know a lot of people who are disappointed,” said Meghan Daum, an L.A. writer and podcaster and former Los Angeles Times columnist who endorsed Pratt. “They are saying, ‘OK, now what? What can we do?”’

While Pratt did not make the runoff, political experts said his candidacy tapped into Angelenos’ dissatisfaction with the Democratic establishment and resonated with a sizable number of Angelenos who are rarely represented in L.A. politics.

“He identified a previously invisible level of anger and frustration,” said Dan Schnur, a longtime politics professor at USC, UC Berkeley and Pepperdine University, of Pratt. “The question going forward is whether he, or someone else, can shape that raw emotion into a movement.”

Pratt has yet to put out a statement conceding the race or contesting the results. As a stream of Republicans, including President Trump, made unfounded allegations of election fraud in California, the campaign’s most online candidate was conspicuously absent on X and Instagram.

Some Democrats in L.A. urged Pratt to make good on his promise to leave the city if Bass or Raman were elected. Late night TV host Jimmy Kimmel, a prominent Democrat, told Pratt he had rented him a U-Haul.

Despite the snark from Democrats, political observers say Pratt changed the terms of L.A.’s mayoral debate.

“He forced the more conventional candidates to talk about the issues in a way that would not have been the case if he weren’t in the race,” Schnur said.

“For the first time in years, there is a critical mass of citizens who are done pretending that what they see before their eyes isn’t really there,” Daum wrote on her Substack. “The people in charge will have to answer to those citizens.”

In the final weeks of the campaign, Pratt became ubiquitous in the national media. There were profiles in high-end publications, podcast interviews and regular reports from Fox News. But the results show he fell short of persuading enough Angelenos to make the runoff.

“It doesn’t appear that he’s impacted the political underpinnings of a deep blue city like Los Angeles,” Schnur said. “His impact was less ideological than attitudinal. He wasn’t convincing the voters to become more conservative, he was convincing them that it was OK for them to vent their anger in an unconventional way.”

Dissatisfaction is building in L.A. as the city’s cost of living mounts and a new generation of young Angelenos are unable to buy homes. Many are concerned about the lack of visible progress on street homelessness. Some are angry at what they see as city leaders’ poor preparation and response to the Palisades fire.

Ultimately, the momentum for change in Los Angeles was divided. As Pratt challenged Bass from the right, Raman tacked to the left of Bass on homelessness and policing and made affordability a key plank of her campaign.

Whatever their concerns about the status quo in L.A., many Angelenos were unwilling to vote for a Republican.

During the course of the campaign, Daum said she had numerous conversations with Angelenos who said: “I can’t associate with anybody who voted for Trump. I can’t have them in my house. I can’t have a conversation with them. I want nothing to do with them.”

A 42-year-old millennial who became famous on “The Hills” and owns a business selling “healing” crystals, Pratt had no political experience when he entered the mayoral race. He didn’t even appear to have a campaign manager.

“The system in Los Angeles isn’t struggling, it’s fundamentally broken,” Pratt said as he launched his campaign on Jan. 7, the anniversary of the fire. “It is a machine designed to protect the people at the top and the friends they exchange favors with while the rest of us drown in toxic smoke and ash.”

Bombastic and full of braggadocio, Pratt critiqued what he saw as Bass’ failure to prepare for and respond to the wildfires. He berated city leaders for not doing enough to get unhoused people off the streets. He railed against the city’s challenges with public safety, potholes, and the abuse of dogs on Skid Row. He even seized on a comment Bass made on the campaign trail about using taxpayer money to fund dental care for meth users.

As Pratt talked about homelessness, his message resonated with Marissa Comstock, 36, a stay-at-home mom and former software engineer in Eagle Rock.

“It’s totally obvious to me,” she said. “We need to get these people off the street.”

Last year, Comstock said she and her husband had a negative encounter at Griffith Park as they pushed their daughters around in strollers. Just a few minutes into their hike, she said, they were accosted by an unhoused person who screamed at them and threatened to cut off their daughters’ legs.

Since that incident, Comstock said, she takes her daughters only to places like the Huntington or Descanso Gardens that require membership to be admitted.

“I don’t feel comfortable even being on regular streets,” she said. “If there’s some crazy homeless person, what am I supposed to do?”

Pratt did extraordinarily well in capturing attention and developing a message, said Paul Mitchell, vice president of the Sacramento-based bipartisan firm Political Data Inc. Many Angelenos, he noted, had a better sense of Pratt’s viewpoint than they did of much more deeply funded California gubernatorial candidates, like Matt Mahan or Xavier Becerra.

During his campaign, Pratt did not express support for Trump or the Make America Great Again movement. He insisted he was a nonpartisan candidate running on local issues.

“I’m going to show everybody that I’m their mayor,” Pratt said on election night.

But even if Pratt was not explicitly MAGA, his reality TV theatrics mixed with antiestablishment populism were so MAGA-coded that he struggled to persuade disaffected liberal Angelenos. He referred to the homeless as “fentanyl zombies.” He railed against California’s “socialism.” He called Bass “Basura,” Spanish for trash.

When Trump spoke of Pratt, telling reporters “I heard he’s a big MAGA person,” Raman was quick to share Trump’s remarks on social media, warning Angelenos that Pratt was wildly out of step with their views.

While Pratt impressed some political observers with his performance in a May 6 televised debate with Bass and Raman, others said he alienated a significant portion of Angelenos with some of his social media antics.

“He could have talked about the drug use and the risks and the filth and the fire risks and all that,” said Rob Stutzman, a GOP political strategist, of Pratt’s zombie rhetoric, “but then paired that with, ‘My God, these liberals are leaving these people out here to die,’ and expressed some humanity towards the population that’s on the streets.”

Ultimately, Daum said Pratt was a “terrible candidate.”

“He did a million things wrong,” she said. “The whole time, I was yelling on Twitter about how he’s got to stop it: the AI videos are gonna hurt him, the Basura stuff, the zombie stuff. Like, stop it! Stop it!”

As Pratt’s campaign came to an end, Stutzman said, it is not clear that he represents any kind of lasting political movement.

“The question remains: Did he create a political movement or did he exploit the opportunity to run for mayor to restoke his diminishing fame?” Stutzman said. “He’s in the mold of a Kardashian: He’s just found ways to be famous without ever really doing anything important. I suspect that this was more about him acting out as to what he is as a reality celebrity versus becoming a leader of a political movement in L.A. We’ll see.”

When Angelenos go to the polls in November, there are several paths for Pratt voters.

Some, Mitchell said, will probably sit the election out entirely.

“You’ll get some Republicans who vote for Raman because they’re like, ‘Well, she’s a socialist and I can’t stand her, but I’m just voting no on Bass.’ And then you’ll have a lot of Republicans who are like, ‘OK, Raman’s a socialist.’”

After Raman made it to the runoff, Bass’ campaign slammed the city council member for voting against hiring more police and blocking efforts to keep homeless encampments away from schools. Meanwhile, Raman positioned herself as the anti-status quo candidate.

In a statement celebrating her advance to the general election, Raman did not mention Pratt or his supporters, but railed against “powerful interests” in City Hall.

“Working people pay the price in higher rents, depleted services, and a city that has stopped working for them,” she said. “If you’re as frustrated by the broken status quo as I am, I hope you’ll join our movement to build a city that works for everyone.”

Even as Daum felt depressed that Pratt’s campaign was not continuing, she said she felt more engaged in L.A. politics than she had ever been. She planned to vote in November and would be watching both Bass and Raman to see how they responded to Angelenos’ concerns about street homelessness.

“If Karen Bass said, ‘OK, I get it, “housing first” is not the panacea that I’ve been thinking it is. Seriously, I’m gonna put together a task force of people who are going to actually think this through.’ … I would be following that. I would be very curious,” Daum said. “Same if Nithya said that, too. I’m open to either of them, I guess.”

Comstock said she would probably vote for Bass in the runoff.

“Nithya Raman is just way too far on the socialist scale for me and will likely do more damage, rather than Karen Bass’ ineffectualness,” she said. “I don’t want to go any farther left.”

I live in Santa Barbara and I’m interested in photography. Where are some historical places to take pictures in Los Angeles? I’m interested in old movie palaces, movie and TV show locations, historic homes and buildings, World War II–related sites and airplane museums. — William Lemons

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:

It’s cool to hear that you’re interested in capturing the beauty and history of Los Angeles through your camera lens, William. Given that you’ll be traveling from out of town, I am recommending spots that you can visit in a single day, if you’d like. They’re mostly in and around Downtown L.A.

First off, if you don’t feel like driving and paying for parking all over town, I’d suggest taking Amtrak from Santa Barbara to L.A. You can take take photos of the gorgeous view along the way and once you step off the train, you’ll already be at the first historic site on the list: the true stunner that is Union Station.

Open since 1939, it’s one of the country’s last great train stations and considered to be the largest railroad passenger terminal on the West Coast. Designed by father-and-son architect team John and Donald Parkinson, it blends Art Deco, Spanish Colonial and Streamline Moderne styles. Travel writer Christopher Reynolds, a.k.a. the person in the newsroom that everyone goes to for trip advice, tells me, “With its clock tower, big arches and high ceilings, Union Station feels like a secular church.” He notes that security guards will often shoo you off if you use a tripod without advance approval, so it’s best to bring a handheld camera instead.

Next, walk across the road to Olvera Street, one of the oldest streets in L.A. It’s part of El Pueblo de Los Angeles Historic Monument that’s been fighting to stay open since the pandemic. As you stroll through the area and take pictures, check out the Mexican marketplace, capturing the pottery, clothing and art along the way, and grab some authentic cuisine. Times food editor Daniel Hernandez swears by Cielito Lindo, a taquería that’s been around since the 1934, and still makes the most “perfectly rolled taquitos.” (The family-owned restaurant is currently raising funds to stay open due to economic hardship.)

Next, hop on an e-scooter or take a quick bus ride to the Historic Broadway Theater District, which has 12 stunning movie theaters — all of which were built between 1910 and 1931. The Los Angeles Conservancy even hosts walking tours of the famous district. You can register online for the next ones on June 6, 13, 20 and 27.

You’ll probably be hungry after the tour, so you might as well visit Grand Central Market, the city’s largest and oldest public market. Open since 1917, the market has more than 40 food stalls including China Cafe (open since 1959), Villa’s Tacos, Egg Slut and more. Afterward, take a brisk walk to L.A.’s most beautiful library, the L.A. Central Library, which turns 100 this year. Grab your camera and marvel at the exterior of the Art Deco-style building, which draws inspiration from Egyptian and Mediterranean Revival architecture. Then head inside on the second floor rotunda to see the marvelous California history mural and the breathtaking globe chandelier.

Now for some rapid-fire suggestions across L.A.: There’s Frank Lloyd Wright’s 1920s-era Hollyhock House at Barnsdall Art Park in East Hollywood. (If you go here, I suggest stopping by nearby Ululani’s Hawaiian Shave Ice for a delicious sweet treat.) Or check out any one of L.A.’s most iconic TV houses including “The Brady Bunch” home in Studio City, “The Golden Girls” residence in Brentwood and the “Seinfield” Koreatown apartment building. (These are private residencies, so you won’t be able to go inside but you can snap a photo of the exterior.) If it’s architecture you’re into, peruse this guide to L.A.’s iconic homes that you can tour IRL, including the Adamson House in Malibu, the Eames House in Pacific Palisades and the Lummis Home (El Alisal) near Mount Washington. Finally, if you’re open to joining a group of fellow photographers, I suggest following Instagram pages for collectives like L.A. Photo Club and the 85 Mil Photo Walk Series, which host meetups and walking tours regularly.

L.A. is filled with so many beautiful historical sites, so I hope that these suggestions help get you started, and most importantly, that you continue taking awesome pictures. Have a great time!

The race for the 34th Congressional District in the core of Los Angeles was supposed to be a battle for the soul of the Democratic Party. The two dozen hopefuls vying for a spot in the top-two primary were full of self-proclaimed fighters ready to oppose President Trump and establishment Democrats.

Instead, it’s shaping up to be a contest between the powerful group of Latinos who make up a majority of the district’s voters and the small but politically potent Korean American community, as Assemblyman Jimmy Gomez and former city planning Commissioner Robert Lee Ahn grabbed the runoff spots that will determine L.A.’s next member of Congress.

“This is really ethnic politics 101,” said Matt Barreto, a UCLA professor of political science who helps run the polling firm Latino Decisions.

Ahn, an attorney and a relative unknown in the crowded primary field, surprised many with a victory that vaulted him ahead of multiple Latino candidates in a district where more than half the voters are Latino. If elected in the June 6 runoff, he would be the only Korean American member of Congress and the first in nearly 20 years.

But it wasn’t surprising to anyone who studies the intricacies of identity politics in Los Angeles, or to those who had been paying attention to Ahn’s aggressive focus on Korean American voters.

Ahn’s campaign staff spent dozens of hours registering voters at malls and outside restaurants in Koreatown, signing up hundreds of new voters. Ahn made his pitch at multiple Korean churches in the district, and a large portion of his donor base was from the Korean American community, which helped him raise more money than Gomez in the latter part of the campaign despite a deluge of cash Gomez received from political committees.

And when Virginia state legislator Mark Keam, also a Korean American, flew to Los Angeles to endorse Ahn, a bank of TV cameras from Korean American news stations was there.

Robert Lee Ahn raised the most money by far in latest campaign finance reports »

Daniel Hong, a 38-year-old who works in the film industry, voted for the first time Tuesday even though he’s been a citizen for about 20 years. Hong, who is Korean American, said he read numerous articles about Ahn and received multiple phone calls from his campaign.

“That was the first time anybody has ever reached out to me for my vote,” said Hong as he stood outside a polling place set up in a Korean Presbyterian church.

Deborah Choi, 62, said she voted for Ahn so “he can speak for Korean Americans here.” The first wave of Koreans immigrated to the U.S. “so many years ago,” Choi said, but their representation in the highest elected offices remains low. She hopes her 36-year-old son will one day run for office too.

Though county election officials have yet to process more than 13,000 ballots, the 41-year-old Ahn remains thousands of votes ahead of the third-place candidate, fellow former planning Commissioner Maria Cabildo.

With turnout expected to hover around 15% of registered voters, preliminary returns show Ahn’s strategy paid off big. The biggest strongholds of votes for Ahn centered on Koreatown, Westlake and Chinatown, while the 42-year-old Gomez was ahead in neighborhoods throughout the northeast part of the district.

In early absentee ballot returns headed into primary election day, Korean Americans made up nearly a quarter of votes even though they comprise just 6% of registered voters.

Few Korean Americans have come this close to winning a seat in Congress since 1998, when Republican Jay Kim of Diamond Bar lost to a primary challenger after three terms in office. (David Min, a UC Irvine professor, announced a challenge to GOP Rep. Mimi Walters of Orange County this week.)

“Korean Americans in Southern California have been hungry for political representation for a very long time,” said Taeku Lee, a professor of politics and law at UC Berkeley. Lee said the recent campaign that helped propel David Ryu, the first Korean American elected to the L.A. City Council, may have also helped the community learn on-the-ground skills that mobilized voters in the congressional race.

The symbolism of Ahn’s win was not lost on his supporters Tuesday night.

“It’s very significant,” said Jinha Park, a radiologist who attended Ahn’s election night party at a Mexican restaurant in Westlake. “The Korean American community has always felt voiceless at the federal level.”

The question now, as the two Democrats ready for what could be a costly runoff, is whether Ahn, the son of Korean immigrants, can broaden his appeal beyond the Korean American voters who are motivated to send him to Washington.

He faces a fierce challenge: While progressive candidates to his left spoke passionately about fighting for “sanctuary cities” that protect undocumented immigrants and single-payer healthcare, Ahn emphasized the “business sensibility” he would bring to the office and argued there was room to negotiate with Republicans on certain issues, an idea that could prove unpopular in a district where just 9% of voters are Republican, and where Bernie Sanders beat Hillary Clinton in last year’s presidential primary.

Ahn will also have to make a case to Latino voters, who make up more than half of registered voters in the district, why they should choose him over Gomez. The three-term assemblyman is the son of Mexican immigrants, has amassed dozens of establishment endorsements from Democratic elected officials, labor unions and environmental groups, and touted his progressive record in the Legislature.

Among his backers is Xavier Becerra, who rose to become the highest-ranking Latino U.S. congressman and vacated the seat to become California’s attorney general.

Votes that went to the remaining Latino candidates in the primary made up more than 38% of voters at last count, and the district has sent a Latino to Congress for more than half a century.

“When [Ahn is] running against a guy named Gomez, as good as his outreach might be in the Latino community, Latinos’ gut and heart is going to be more with Gomez,” said UCLA professor Barreto.

Ahn dismissed the idea. “The notion that Latinos will only vote for a Latino … I think we’re really going to transcend that with our campaign,” Ahn said in an interview Wednesday. He appears to be positioning himself as an outsider, which would be similar to the campaign Ryu ran when he made his successful council run in 2015. Ahn called Gomez a “professional politician that is powered by special interests.”

Gomez’s camp shot back, saying voters will see through Ahn’s formidable fundraising and realize his credentials don’t match with the district.

“More than anything, he’s ideologically out of step with the district,” said Parke Skelton, a campaign consultant for Gomez. Skelton said Ahn, who changed his registration from Republican to Democrat in 2012, “has taken positions that really put him out of the mainstream Democratic base in this district.”

christine.maiduc@latimes.com

For more on California politics, follow @cmaiduc.

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On a Thursday night in West Hollywood, a sleek, multi-level townhome is filled with stylish guests holding fragrance vials the way partygoers cling to cocktails. They raise scents to their noses as they mingle and float through the space.

In one nook, two well-known faces in the fragrance community, Tishni Weerasinghe (@thatbrownperfumegirl) and Chase Chapman (@thescentchase), host stations with their favorite home scents — pre-bedtime spritzes to everyday comforts for working from home — as a small group leans in, asking questions and noting which scents resonate. Inhaling the blend of white musk, floral notes and amber of Rouat Al Musk by Lattafa, a $16 fragrance from Weerasinghe’s collection, attendees oooh and nod in enthusiastic approval.

In another corner, guests try fragrance pairings, scents expertly paired with drinks, letting the aroma and flavors mingle through their senses. Outside on the rooftop, the crowd spills into smaller conversations over refreshments and city views.

Sarah Bowen, co-founder of the Smellers Club, sniffs a fragrance.

This is the Smellers Club. To an outsider, it might seem like a gathering centered around a niche fixation, but within this world, fragrance is much more expansive. Here, it’s a bridge between people, a tool for self-expression, a way to understand your own taste and increasingly, a reason to connect. The night’s gathering is taking place in the home of Daniel Scott and Ronn Richardson, the duo behind the fine home fragrance line Space.

Some guests are simply scent-curious, while others have deep roots in the world of fragrance. One attendee, Jess Blaise, the co-founder of Haitian Spotlight LA, credits her Haitian heritage and the fragrance rituals modeled by her mother for her connection to scent. She recently purchased a bottle of Carnal Flower by Frederic Malle for her personal collection, a luxe tuberose known for its white floral profile and appeal among niche collectors. Of her culture, she explains, “Part of your presentation — of dressing up — is your scent.”

The gathering was hosted in the home of Daniel Scott, left, and Ronn Richardson, co-founders of the home fragrance brand Space. Space offers a range of luxury home fragrances and candles.

Across Los Angeles, fragrance clubs are transforming what was once a solo ritual into something communal. From rooftop gatherings in West Hollywood to casual park meetups further east, these hangouts tap into a growing desire for laid-back, low-stimulation ways to spend time together, offering an alternative to the usual rotation of restaurants, bars and crowded nights out.

Reverie of Scent turns a small nook of Elysian Park into a mini fragrance lounge on Saturday mornings once a month. Founded in November 2025 by Marian Botrous, with support from her husband, Errol, and her sister, Marlene, the club started with just four members at the first meetup. By their sixth gathering this past April, attendance had quintupled, with a mix of regulars and newcomers at every session.

“It’s a huge world,” Botrous says of perfume. “Exploring it together makes it more interesting.”

Fragrance lovers hang out on the rooftop at Smellers Club’s West Hollywood gathering.

At her picnic-like gatherings, attendees show up with blankets, snacks and scents to swap or discuss. With 2-milliliter samples running up to $12, “collecting new scents gets expensive fast,” Bostrous says. “Our meetups make it accessible and fun.”

There’s a mix of casual socializing and structured discussion — conversations have explored the motivations behind wearing fragrance, from seduction to personal comfort, as well as the cultural impact of certain perfumes, like Chanel No. 5 and its connection to Marilyn Monroe and old-school luxury glamour. At one meetup, a member brought in a fragrance called Scentless Apprentice, inspired by the novel “Perfume: The Story of a Murderer” by Patrick Süskind (which Kurt Cobain loved so much that he wrote the Nirvana song “Scentless Apprentice”).

Artist Megan Lindeman, who founded Silverlake Scent Club in August 2025, is also bringing people together to explore scent as a shared social experience. Lindeman says she was inspired by Los Angeles’ broader scent culture and a curiosity about what it would feel like to center smell in a communal setting. The group meets monthly in her Silver Lake backyard, where attendees explore fragrance as both material and memory.

Black Girl Perfume Club was founded in 2023 by Taylyn Washington-Harmon, launching online before expanding into in-person meetups. Across Substack, Instagram and IRL gatherings, it brings together fragrance lovers and newcomers eager to deepen their understanding in an interactive way. “I started the club back when fragrance’s popularity was still pretty niche, and now seeing it move into the mainstream is really exciting,” says Washington-Harmon. As interest grows, she hopes more people will also explore the range of artistry produced by Black-owned fragrance lines.

Back at the house in West Hollywood, people continue to vibe at the event led by Sarah Bowens and Jon Kidd, Los Angeles natives and the duo behind the Smellers Club, launched in January. They’re siblings-in-law who grew up together in the church and are quick to note that their respective partners, Zana and Zion, are unofficial team members and rock-star supporters.

Jess Blaise tests out a scent by Selnu.

Between the both of them, Kidd brings the “fraghead” energy — a name for fragrance devotees who bring a passion and certain fluency of fragrance culture. Bowens, who comes from an events background, heads curation and considers herself more in the beginning stages of her fragrance journey.

When they first started hosting these events, Bowens wasn’t sure how captivating they’d be. “I was like, can people really sit here for hours and talk about fragrance?” she says. She got her answer quickly, watching guests chat, laugh and dive into lively conversations for hours.

Kidd points to wine and book clubs as “event muses” for the Smellers Club. “At a certain point, it stops being about the books or the wine — and for us, even the fragrances,” he says. “It becomes about the people.”

Chase Chapman sets up scents from his personal collection of fragrances for guests to discover at the Smellers Club gathering.

As people navigate adulthood and personal growth cycles, challenging habits and shedding old identities, there are a few underlying questions: Who am I, really? What do I actually like? And what feels good and in alignment with being at ease? Fragrance communities can be a surprisingly grounding place to explore these existential meditations. Bowens, for example, was recently drawn to strawberry-forward Fruits of Love by Dossier, which surprised her since she considered herself someone who didn’t like fruity scents. Such realizations are familiar in the community: You can miss out on something satisfying simply because it doesn’t match your predefined tastes.

Farah Elawamry, a fragrance-focused content creator known as Farah’s Thoughts, has examined fragrance marketing and its ties to rigid gender norms, explaining that “the iris note is always given to women’s fragrances and orris is always given to the masculine fragrance genre, and they’re literally the same note — one is the root, one is the flower.” Once you start diving into the history and psychology of fragrances, she says “you begin to question what you actually like versus what marketing people are telling you to enjoy.”

Compared with the typical nightlife scene in Los Angeles, attendee Shaunt Kludjian says gatherings like these feel more intentional. “This turned out to be better than the clubs in L.A.” he says. “Everyone’s just vibing and connecting over scent.” Kludjian is founder of the Los Angeles candle company Whiff and came to the event to network. Frustrated by traditional candle formats, he launched a line of portable candles packaged in small, tuna-like tins designed to make “home follow you wherever you go.”

As Kidd looks around and watches strangers become friends over a sniff of musk or jasmine, he reflects on part of the magic of the Smellers Club and other fragrance communities.

“Fragrance is a portal to your memory,” he says. “So by coming to something curated that’s a wonderful night, you’re ingraining a memory.”

What started as a question of what smells good has become something else — small moments of recognition between many people who, just hours earlier, had been total strangers. Maybe that’s the point. The bottles will get put away. Everyone will return to their separate corners of the city. But the feeling of being seen, of finding your people — even briefly — sticks with you long after the scents dissipate.

Cost: $21 to $27 for patio chairs. $32 to $36 for cushioned loveseat. Parking rates below the building range from $10 to $12.

Next film: “Saved!” on May 14, 8:15 p.m.

Other films: “Twilight,” “Josie and the Pussycats,” “Past Lives,” “10 Things I Hate About You.”

Food options: Outside food and drinks are not allowed. Concession stands carry popcorn, nachos, pretzels and other snacks. Full bar with cocktails, beer and wine.

Dog-friendly? Pets not allowed.

Things to note: Bring-your-own-blanket policy for cold nights. Age requirements vary; most showings are 16+, but select films are 18+ and 21+. If weather conditions become too extreme, showings may be canceled.

After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”

I’m going to start this story on a quiet tree-lined street in Mar Vista, where a couple I met with on Thursday — the day after the L.A. mayoral debate — have a problem.

It’s not an unusual matter, as things go in Los Angeles. On both sides of the street, the sidewalk rises and falls, uprooted and cracked by shallow roots because over many decades, the trees were not properly maintained.

John Coanda, 61, who grew up in Los Angeles, was never bothered by torn-up sidewalks as a kid.

“In fact,” he said when he first emailed me about his predicament, “my friends and I sometimes used the ramping pavement as jumps for our bicycles.”

But his wife, Barbara, was diagnosed in 2024 with ALS, and she uses a wheelchair. When John pushes her, they can’t use the sidewalk if they want to go to the store or meet with friends, or just enjoy a nice pass through the neighborhood without getting into a vehicle.

So John pushes Barbara’s wheelchair in the street, which creates an obvious safety problem. And despite John’s best efforts to get City Hall to fix the sidewalks, he’s not expecting help anytime soon.

I’ll circle back to this story in a bit, but first, about that debate.

I recruited a half-dozen L.A. residents to watch and send me their thoughts about how the candidates tackled the important issues. And then I felt guilty for having done so, because the candidates didn’t do much tackling at all.

Candidate Spencer Pratt is shown on a television while journalists work during the 2026 Los Angeles mayoral debate at Skirball Cultural Center.

(Jason Armond / Los Angeles Times)

They hit their talking points, for sure, and Mayor Karen Bass, Councilmember Nithya Raman and TV personality Spencer Pratt each had their moments. But by the end of the debate, and two straight nights of gubernatorial debates as well, I came away thinking there were no clear winners, but there was a definite loser.

Voters.

This is the fault of the format more than of the candidates themselves. The deck is stacked against meaningful, substantive discussions, especially when moderators ask — as they did several times — for one-word answers.

“Moderator questions are so meaningless … and they make it easy for candidates to take potshots at each other,” said longtime political sage Darry Sragow. “The format is guaranteed to elicit nothing that matters.”

It’d be better to have single-issue debates, and to have candidates pressed for details by journalists who cover those issues and can push back against unrealistic promises and expose a lack of depth.

My debate watchers did some of that themselves. CSUN librarian Yi Ding had praise and criticism for each candidate, but was looking for concrete plans and didn’t get many.

Ding was also disappointed that two other mayoral candidates — Ray Huang and Adam Miller — were not invited to the debate, and I agree with her. Both have been polling low, but with so many undecided voters, and such high unfavorability ratings for Bass, they should have been in the mix.

Mike Washington, a retired pharmacist and West Adams resident, said Bass has done better than previous mayors on homelessness and he didn’t think Raman or Pratt came off as worthy of bumping her out of City Hall.

“The public would have benefited from more questions related to the challenges young people are facing,” said Juan Solorio Jr., president of the San Fernando Valley Young Democrats club. His colleague David Ramirez agreed, saying he was hoping for “more discussion about the cost of living for young adults,” but he and Solorio are both backing Bass.

West L.A. software developer Mike Eveloff asked the million-dollar question in one of his many observations during the debate:

“Why is LA spending record amounts on homelessness, fire, police, and infrastructure while results deteriorate? Streets and sidewalks crumble. Even the city emblem right in front of City Hall is deteriorated. With the World Cup and Olympics approaching, voters need to know: Do these leaders have the financial discipline and operational competence to manage a fourteen billion dollar city?”

Venice resident Dennis Hathaway, author of “An Octogenarian’s Journal,” said he thinks “these kinds of debates are pretty non-edifying.” And, as someone I wrote about two years ago regarding busted sidewalks in his neighborhood, he shared this lament about Thursday’s debate:

“No mention of broken sidewalks, potholed streets, other deteriorated infrastructure. To me, that’s a much more important subject than non-citizens voting in city elections.”

(Bass did say during the debate that there was a new infrastucture plan in place, and that’s a step in the right direction. But there was no discussion, and when you read the details, 2028 Olympics projects will be prioritized, and it’ll take years to figure out how to fund thousands of additional much-needed fixes.)

The Coandas live not far from Hathaway, and their lives have been upended first by Barbara’s diagnosis and then by John getting laid off in February from his job as a data analyst. Barbara still teaches French via Zoom, and John is tending to her needs. They started a Gofundme campaign to help pay their bills.

With Barbara in a wheelchair, John contacted the city’s Safe Sidewalks L.A. program last fall, and I think it’s fair to say that name is somewhere between a misnomer and a bad joke.

The “program” responded by email on Halloween, appropriately enough, informing him that under the City Council-approved “Sidewalk Repair Program Prioritization and Scoring System,” his request for help merits only 15 points out of a possible 45.

“Currently,” he was informed, “the estimated wait time for completion of an Access Request with a score of 15 is in excess of 10 years.”

Happy Halloween.

Over the years, responsibility for sidewalk repairs has shifted between the city and homeowners. There’s a rebate program available to people who repair their own sidewalks, but it’s capped at an amount that doesn’t always cover the costs. And ruptured pavement is keeping lots of lawyers busy with trip-and-fall lawsuits that cost the city millions each year.

Barbara Durieux Coanda, who has ALS, and her husband, John Coanda, make their way down the ramp in front of their home in Mar Vista.

(Genaro Molina / Los Angeles Times)

Coanda told me he doesn’t have the funds at the moment to pay for repairs, and even if he did, there are several more sidewalk disaster zones on both sides of his street, so he’d still have to push his wife’s wheelchair in the street even if he fixed the cracks in front of his own house.

Barbara graciously said she thinks the city has other, higher priorities, but in November her husband contacted the office of Councilmember Traci Park, saying he was told that he would have to wait 10 years for repairs.

“Sadly,” he wrote, “I don’t think my wife will live that long.”

A Park staffer wrote back, saying, “The turnaround time does sound realistic given the budgetary crisis the city finds itself in.” But, the staffer added, maybe the council member’s office could “help move the needle on this request.”

Coanda said he’s been too busy with his wife’s issues to follow up. But Pete Brown, Park’s communications director, told me Friday afternoon that the office is exploring ways to pay for fixes that don’t take 10 years, including the use of discretionary funds.

I don’t know how that might play out, but I do know that L.A. doesn’t need another debate like the last one.

We need a mayor and council members who refuse to accept that it takes 10 years to create safe passage for a wheelchair.

In the national capital of broken sidewalks, we need concrete plans.

steve.lopez@latimes.com

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, giving you the latest on city and county government.

We’ve got a month left before the June 2 primary election, with mail-in ballots already heading to voters’ mailboxes.

As if on cue, the big campaign money is pouring in from an array of well-funded interests: business groups, labor unions, hotels, taxicab companies and even one candidate’s mother.

To get around the city’s strict fundraising limits, those donors are putting much larger sums into “independent expenditure” campaigns that operate separately from their favored candidates.

Let’s take a look at some of the outsized spending to emerge in recent weeks.

Police union targets Raman

Things had been pretty sleepy in the L.A. mayor’s race, even with Mayor Karen Bass facing challenges from Councilmember Nithya Raman, reality TV personality Spencer Pratt and 11 other opponents.

That all changed after the Los Angeles Police Protective League, the union representing rank-and-file officers, dropped more than $400,000 on ads targeting Raman, who was elected to the council twice with support from Democratic Socialists of America, which isn’t endorsing in the mayoral primary.

Bass has been aligned with the union on a number of issues, supporting the hiring of more cops, signing off on higher police salaries and vetoing a ballot proposal to let Police Chief Jim McDonnell fire officers.

Raman, on the other hand, has been campaigning on her opposition to a package of police pay increases, saying the decision by Bass and the council to approve them was “politically motivated.”

Bass and others said the increases were needed to keep police from leaving a department that has lost 14% of its officers since 2020.

The league tried and failed to unseat Raman two years ago. This time around, the union is texting voters a campaign video highlighting her opposition to a city law barring homeless people from setting up encampments within 500 feet of a school.

The ad, which appears on YouTube, Hulu and other platforms, cites Raman’s recent vote against a new “no-camping” zone in Venice, in an area plagued by assaults and other crimes.

“Raman has voted over 75 times to allow homeless camps next to schools, daycares, parks and other sensitive locations, undermining public safety,” the ad’s narrator says.

Raman responded with her own campaign video saying Bass gave the union “more money than the city could even afford,” forcing city leaders to cut other services “to the bone.”

“This is what happens when a city governs for powerful interests rather than working people,” she said.

The league is planning to spend more than $1 million opposing Raman, and it’s already gotten some help. For example, office building owner Kilroy Realty Group has given $100,000 to the anti-Raman campaign.

A mother of a campaign

Real estate executive Zach Sokoloff has a not-so-secret weapon as he seeks to unseat City Controller Kenneth Mejia: his mom.

Sheryl Sokoloff is the spouse of Jonathan Sokoloff, managing partner of the Los Angeles-based private equity investment firm Leonard Green & Partners. She recently dropped $2.5 million into a committee promoting her son, which has produced digital ads accusing Mejia of performing too few audits.

“Zach Sokoloff will actually do the job as controller,” the ad’s narrator says in one 30-second spot.

Mejia, in an email, called the attacks “baseless” and accused Sokoloff’s family of “using their extraordinary wealth to try to buy the Controller’s position.”

“Unlike my opponent, I do not have any millionaire family members who can bankroll my campaign,” he said. “Just like last time we ran, we’re relying on small dollar donations from LA residents who are inspired by our record of providing unprecedented transparency and accountability on their tax dollars.”

Spending surge in the 11th

We already knew the race for the 11th District, which covers L.A.’s coastal neighborhoods, had gotten outrageously expensive.

Last week, Councilmember Traci Park reported raising nearly $1.3 million. Human rights attorney Faizah Malik, Park’s lone challenger, took in her own impressive haul of $454,000.

Turns out the independent expenditure campaigns in the race are nearly as costly.

Two city employee unions — the Police Protective League and United Firefighters of Los Angeles City Local 112 — have spent nearly $900,000 on efforts to get Park reelected. And they’re getting help.

The firefighters, a Park ally since her 2022 campaign, collected $150,000 for their pro-Park effort from Western States Regional Council of Carpenters, a construction trade union. The police union picked up $150,000 from restaurateur Jerry Greenberg and $200,000 from real estate company Douglas Emmett Properties, which gained notoriety for its push to evict tenants from West L.A.’s Barrington Plaza.

Malik, backed by Democratic Socialists of America, accused Park of doing the bidding of her donors at the expense of “everyday working Angelenos,” by supporting police raises and fighting stronger renter protections.

Hotel workers take aim at Park

Meanwhile, a different union is doing its own sizable spend.

Unite Here Local 11, which represents hotel workers, has put nearly $340,000 so far on efforts to promote Malik and tear down Park. The union’s leadership has been furious with Park, who voted against a hike in the minimum wage for tourism workers to $30 per hour.

Park said the wage hike would harm the city’s hospitality industry, costing hotel workers their jobs.

Like the police and the firefighters, Unite Here is not going it alone. The union picked up $50,000 from United Teachers Los Angeles and another $50,000 from Smart Justice California, a group focused on less punitive public safety strategies.

Unite Here has attempted to portray Park, a Democrat, as a Trump sympathizer, highlighting remarks she made to the president when he visited Pacific Palisades in the wake of the Palisades fire. The union also pointed out that she voted against making L.A. a sanctuary city for undocumented immigrants.

Park told news radio station KNX in 2024 that the state already has a sanctuary law, and that she considered the ordinance to be an act of “symbolic resistance” — one that would jeopardize federal funding.

On Thursday, Park accused Unite Here of using a picture of her with personnel from the Army Corps of Engineers to falsely imply that she was standing alongside ICE. The Army Corps removed debris from thousands of burned-out properties in the Palisades.

Park, in a statement, called the mail pieces “dishonest and disgusting.”

Unite Here didn’t directly address Park’s allegation, but told The Times that “Local 11 believes that our local elected officials should not collaborate with the Trump administration in any way.”

Speaking of the hotel wage

Unite Here isn’t the only player in the hotel wage fight to leap into this year’s council races.

Two L.A.-based hotels, working with the California Hotel and Lodging Assn., have put a combined $300,000 into a political action committee supporting Maria Lou Calanche, who is seeking to unseat Councilmember Eunisses Hernandez; political aide Jose Ugarte, who is running to replace Councilmember Curren Price; and Park in the 11th.

The group, which goes by the name Fix Los Angles PAC, doesn’t seem to be sweating all the details. Its phone script to voters, which was filed recently with the Ethics Commission, got Calanche’s name wrong, referring to her as Mary instead of Maria.

State of play

— EXPANDING THE VOTE: L.A. voters could be asked in November to take the first step toward giving noncitizens the right to vote in city and school board elections. City Councilmember Hugo Soto-Martínez, now running for reelection, wants voters to give the council the authority to let noncitizens vote in elections for mayor, council and other city offices, as well as the school board.

— HOME SHARING HOLDOUTS: Bass is looking to relax the city’s rules on home-sharing, by letting residents rent their second homes on a short-term basis through Airbnb and other platforms. Some council members were cool to the idea, saying this week that they fear such a move would shrink the city’s housing supply.

— EYE IN THE SKY: The LAPD deployed drones more than 3,000 times last year, using them mostly for emergency calls or officers’ requests for help, according to a report submitted to the Police Commission. The 3-foot-wide surveillance devices are being used by a department already known for its sizable fleet of helicopters.

— SEIZING CONTROL: Bass and Councilmembers Tim McOsker and Ysabel Jurado want the city of L.A. to obtain majority control over the embattled Los Angeles Homeless Services Authority, a city-county agency that delivers services to the region’s unhoused population. That proposal comes a year after the county’s Board of Supervisors voted to pull more than $300 million out of LAHSA.

— A GLOOMY OUTLOOK: L.A. voters lack confidence in the ability of city, county and state officials to make housing more affordable, according to a survey conducted by the Los Angeles Business Council.

— READY FOR OUR CLOSE-UP: L.A. plans to install 125 speed cameras by the end of July, in the hope of catching misbehaving drivers. But there are already some takeaways from San Francisco, where the technology is being credited with getting drivers to slow down.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to combat homelessness returned to South Los Angeles, sending outreach workers to areas around 23rd and Broadway, Adams Boulevard at Main Street, and Washington Boulevard at Main Street.
• On the docket next week: The major candidates for mayor are set to square off Wednesday at a forum sponsored by NBC4 and Telemundo 52, in partnership with Loyola Marymount University and the Skirball Cultural Center.

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.