The Brief

When you walk into "Ode to ’Dena: Black Artistic Legacies of Altadena," a free exhibit at the California African American Museum in Exposition Park, you’re greeted not with pieces of fine art — but a large wall of photos.

Some are black and white, some are color. They show Altadenans over the decades during treasured moments, such as a birthday celebration or family pool time. They’re part of the exhibition’s more than 20 Black artists, all of whom live in or have family ties to the neighborhood.

“One of the first things that I envisioned in my mind was putting together this wall of archival photos, personal family photos, photos of the artists in the exhibition,” said Cameron Shaw, the museum’s executive director. She wanted to show how family and community are critical parts of Altadena life.

The photo mural that visitors see at the exhibit entrance.

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‘Community curated’

“Ode to ’Dena” isn’t your traditional tour of place and history. This exhibition is about the neighborhood’s artistic tradition, which blends the past and present.

Curator Dominique Clayton said the show is bittersweet because it stems from pain, but that it also poses an opportunity for people to learn another part of L.A. County’s cultural history.

Museum galleries usually take a long time to organize, but Clayton said she was able to put this one together quickly. She started working on it in mid-January, just after the Eaton Fire broke out. She said that speed was in part because of Altadena’s supportive community of artists.

“ I like to say it’s community curated,” Clayton said. “ I would talk to one artist. I was introduced to another and another. And so it sort of built itself.”

Some of the artists in the gallery lost homes in the Eaton Fire, including Clayton’s friend Kenturah Davis, one of the artists on display.

Meaning behind the art

These items were curated by Octavia's Bookshelf owner Nikki High as a symbol of the Altadena's Black literary legacy.

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There are a variety of styles and subjects in the exhibit.

The beloved Pasadena bookstore Octavia’s Bookshelf curated a display that shows the Black literary legacy of Altadena and Pasadena.

John Outterbridge’s renowned outhouse, a structure that calls out institutionalized racism, brings in the Civil Rights era.

Debris from the Eaton Fire also gets a new life here. A scorched flugelhorn sits next to burned tree branches.

A piece titled "From the Ashes" from artist Sam Pace. The work includes a flugelhorn that was found in the ashes of his neighbor's Altadena home.

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The burned sound bowl from the artist Grandfather.

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A charred sound bowl — used by the artist Grandfather in several of his audio works — was the only item found in his home's ashes after the Eaton Fire.

The show also transcends generations. Davis’ 2-year-old son Micah has two watercolor paintings in the exhibit. He’s the youngest artist in “Ode to ’Dena.”

Watercolor paintings from Micah Zuri Davis-O'Connor. These paintings were done with the help of his grandfather, Keni "Arts" Davis. His paintings, showing before and after looks at lost Altadena places, are also in the show.

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Betye Saar's album artwork for jazz musician Bennie Maupin.

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The oldest is 98-year-old Betye Saar, who has a mixed media installation and album artwork in the exhibit.

The exhibit is an example of change in America, Clayton said. The arts culture now has multiple generations of Black artists, and Altadena plays a big role in that. For example, Kenturah Davis' artworks are joined by ones from her parents. Her mother, Mildred “Peggy” Davis, has handmade quilts on display. Keni “Arts” Davis, Kenturah Davis' father, painted iconic Altadena locations before and after the fires.

One of Clayton’s favorite pieces comes from Marcus Leslie Singleton, who watched from New York as his family lost their home. His oil painting, called “Moses” contains the only reference to fire in the show. It shows Moses as a Black man sitting next to a burning bush surrounded by desert.

Clayton says that piece is emblematic of the hopeful energy she wanted for the whole show — “so that it’s not so much about destruction and disaster," Clayton said, "but really about enlightenment.”

Marcus Leslie Singleton's "Moses." During the L.A. fires, Singleton helped raise money from New York for his family, who lost their home in Altadena.

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Altadenas are everywhere

Shaw said the team leaned into its mission to preserve Black art history and culture after the fires. She hopes that people who have a history with the Altadena area can see themselves reflected honestly in the exhibit.

Shaw also wants folks who don’t have that connection to  learn about the neighborhood’s Black history and community. That goes back to the 1960’s. Until then, Altadena was almost an entirely white community.

This was largely because of redlining. When it was banned in 1968, a “white flight” in Altadena ensued. One of L.A. County’s first middle-class communities with Black people emerged there, known as the Meadows. Today, Altadena is 18% Black — roughly double the rest of the county.

“ Dominique says something so beautiful, which is that there are Altadenas everywhere,” Shaw said. “And that doesn’t mean that Altadena is replicable, but that there are Black places worth protecting.”

And Clayton has an idea for how visitors can put that into action with the artists.

“ Take a moment to look them up,” she said. “Read about them, learn about them, tell someone else about them.”

“Ode to ’Dena” will be on display through Oct. 12. Visitors can check out the free exhibit at the California African American Museum in Exposition Park.

Ballots are going out in less than a month, and California remains locked in a legal battle with the Trump administration over the president’s push to rein in universal mail-in voting.

The back-and-forth has some California voters likely wondering whether they’ll be able to vote by mail in this upcoming election. And if so, should they?

In short — yes, mail-in voting will still be an option this year. And yes, it’s still safe and generally reliable, although county election officials are urging voters to send in their ballots as early as possible ahead of the Nov. 3 election.

In case you missed it, the U.S. Supreme Court is poised to issue a ruling that will determine, at least for now, whether President Donald Trump can force the U.S. Postal Service to restrict vote-by-mail ballots in time for the midterm election. Trump wants to create a federal database of registered voters that the postal service would then cross-reference to ensure mail-in ballots are only delivered to eligible voters — in other words, U.S. citizens. His plan would have the postal service refuse to deliver ballots in states that withhold the data.

The dizzying, monthslong legal saga has baffled voters and even some election officials, which some voting rights advocates argue is probably the point.

But California election officials say the state is well-equipped to administer the election, regardless of how the Supreme Court rules. Although county registrars are monitoring the court rulings, they’re also preparing to mail ballots as usual by the state’s Oct. 5 deadline. Local and state officials are urging voters to make a plan to vote early and to use the state’s various non-mail voting options, such as drop-boxes and in-person voting sites, if they’re worried about the postal service.

“Like we do for all of our elections, we have contingency plans or disaster plans put into place,” said Tricia Webber, clerk and registrar of voters for Santa Cruz County and president of the California Association of County Election Officials.

Some counties, including Santa Cruz and Los Angeles, are exploring options for pop-up stations where voters could request and submit ballots. In Santa Cruz County, Webber said her team is strategizing how to deploy their votemobile around the county to add yet another option for voters.

“Until there’s an answer,” Webber said, speaking of the pending court ruling, “California counties are doing business as usual.”

What does Trump want USPS to do?

Trump issued an executive order in March that sought to give the federal government control over who receives mail-in ballots. Almost immediately, more than 20 Democratic attorneys general, including California’s Rob Bonta, sued the Trump administration on the grounds that the Constitution allows only Congress and state governments to administer elections.

Federal district and appellate courts sided with the Democratic states and upheld a temporary injunction preventing the postal service from implementing any part of its plan while litigation continues.

The central questions in the case remain unresolved. The Supreme Court last month allowed the Trump administration to continue planning for how it would implement the president’s order. Democratic states promptly sued again to contest the postal service’s plans.

The postal service’s proposal, the final version of which was published in August, would create a system to track each voter’s ballot with a unique barcode and cross-reference it with a database of eligible registered voters.

While some states fear they’ll need to reprint envelopes if the postal service’s rule is upheld, the vast majority of California counties already use compliant ballot envelopes, Webber said.

The federal government does not have a comprehensive list of every eligible registered voter and would need to rely on states to submit voter information to a “federal ballot mail portal” that does not yet exist.

It seems unlikely that the postal service’s portal would even be functional in time for the 2026 midterm elections. A postal service whistleblower asserted that the process to develop and deploy the portal was “rushed,” “risky and haphazard” due to the “impossible timeframe,” according to Democratic Sen. Richard Blumenthal’s office, which received the whistleblower complaint.

“In an effort to meet impossible deadlines, USPS has eliminated standard and needed testing, thereby creating substantial risk of a ‘catastrophic failure’ of the system that could ‘derail the midterm elections,’” wrote Blumenthal, of Connecticut, in a late August letter to Postmaster General David Steiner.

The postmaster in June told a congressional committee that the postal service would withhold ballots in states that refuse to share basic voter information, including name, address and the unique ballot barcode.

Secretary of State Shirley Weber, California’s chief elections administrator, has not said whether California would comply with the proposed voter information requirement.

“California’s elections officials will continue to do everything within our power to ensure that every eligible California voter has the right to cast a mail ballot and have that vote count.”

Last year, the U.S. Justice Department sued Weber and five other Democratic secretaries of state for refusing to turn over their unredacted voter files, which contain far more sensitive personal information than the postal service rule would require. A federal judge in Southern California dismissed that case in January.

Uncertainty could fuel more early voting

Ironically, concerns about the postal service’s reliability could facilitate what election officials and voting advocates have struggled to do for years — get people to vote earlier.

Unlike the lead-up to the June primary, where nervous Democrats urged fellow voters to wait until the last minute to pick a candidate for governor, social media is now awash with posts urging people to vote early and use ballot drop-boxes rather than rely on the mail.

“This whole play may backfire,” said Kim Alexander, president of the California Voter Foundation. “What you’re seeing now on social media in response to this court drama and this confusion are lots of people urging their friends to vote early — and that’s exactly what we’ve been saying.”

Voting earlier helps county election officials tabulate results more quickly on election night, which helps race callers like The Associated Press declare winners faster. And since ballots in envelopes take the longest to process, dropping them off several days before the deadline is the best way to help election officials count faster, since they can remove ballots from envelopes and prepare them for counting before Election Day.

“Fortunately, we give voters lots of options, and that’s really going to work to California’s benefit,” Alexander said. “Other states do not have the kind of robust process that creates lots of redundancies and avenues for voters to vote.”

It can be the small, curved horn of a ram or the dramatic spiral of an African antelope. The sound it creates is unmistakable.

Creating that sound is not difficult, but it does take some practice, said Rabbi Alicia Jo Rabins, a musician based in Portland, Oregon.

You take a deep breath and purse your lips, like you are playing a brass instrument.

Rosh Hashanah, the Jewish new year, begins at sunset Friday. Across the world, Jews will spend the two-day holiday in prayer, reflection and celebration. And for many, a highlight will be hearing the shofar: an animal's horn blown like a trumpet.

How did this primal instrument become a holiday's spiritual soundtrack?

" The most basic answer is that it makes noise, right? It calls people to attention," said Daniel Picus, an associate professor at Western Washington University in Bellingham who researches religious practices and rituals. "All of the instances in which a shofar is used in the Hebrew Bible, that is what it's doing."

Abraham Ribak , an Israeli, blows a shofar, a musical instrument used in Jewish religious ceremonies made from the horn of a ram.

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Shofar blasts marked the revelation of the Torah at Mt. Sinai and the start of the Jubilee year, Picus said. Priests blew shofars when they circled the walls of Jericho to bring down the walls. The shofar marks moments of heightened experience and emotion — and Rosh Hashanah.

"In the Hebrew Bible, Rosh Hashanah is the day of trumpeting and the day of remembrance," Picus said. "The association of the shofar with Rosh Hashanah is right there in the Biblical text."

Centuries later, the Mishnah, the earliest rabbinic codification of law, drilled down into greater detail in the tractate Rosh Hashanah, laying out exactly how a shofar should be prepared (hollowed out), repaired (it depends), blown (a complex series of blasts at several times during the service, thanks to debate over linguistic interpretation), and whether or not it can be blown when Rosh Hashanah falls on Shabbat (no, although some modern synagogues have changed course).

And within the Talmud and for centuries thereafter, people have debated the meaning of the shofar.

Shofars are on display for sale at the Barsheshet-Ribak Shofarot company, in Tel Aviv, Israel.

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Rabbi Micha'el Rosenberg, who teaches at the Hadar Institute, a center for Jewish learning based in New York City, pointed to several sources that compare the sound of the shofar to the cry of a mother in pain — the mother of the slain biblical military commander Sisera, and the cries of a woman in labor.

Rosenberg said you can hear that in the sound — especially the broken staccato blasts, known as "teruah."

"You can really imagine someone so caught up that they can't get the full sound out even, that they're gasping with their cries," he said.

Another interpretation comes from Maimonides, the medieval Jewish rabbi and scholar known as the Rambam, who wrote "The Laws of Repentance." He describes the blast of the shofar as a sort of spiritual wake-up call to become your best self.

"In Jewish law, we have this expression of daled amos, my four cubits: I focus on the 6 feet around me, as it were," he said. "It's easy to do that — and there's value in doing that sometimes. But the shofar, per the Rambam, wakes us up and says, 'No, there's more beyond what I can immediately see around me.'"

Rosenberg also pointed to Hasidic theories that the blowing of the shofar reenacts the breathing of life into the world. But he said one of the most powerful things about the shofar is that it doesn't say anything at all. "It transcends my words, it transcends my rational thoughts, and it really is just a feeling that I can hope to hold onto," he said.

Rabins, the Portland rabbi and musician, said the shofar can call across time to speak to those wordless places inside us. "It really brings you into the moment, and you also feel connected to your ancestors, who have been hearing this sound and making this sound for thousands of years," she said.

It's a sound, Rabin said, that can wake you up to all the joy and sadness of life, whether it be a birthday horn or a mother's cry. And it makes you pay attention — both to this moment, and to the year to come.

This story was created through a partnership between NPR and Religion News Service.
Copyright 2026 NPR

TV critics care a lot about the people who bring us the shows we love, so of course we each have folks we're pulling for this Emmy season. The Pitt, Hacks, Widow's Bay and Pluribus are leading the Emmy nominations pack this year. Here's who we'll have our fingers crossed for during the ceremony on Monday night.

Outstanding drama series: Pluribus 

Rhea Seehorn in "Pluribus."

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HBO Max hit The Pitt likely wins here. But Apple TV's Pluribus triumphs as a revolutionary sci-fi story; a virus, created with instructions sent from the stars, unites humanity in a giant hive mind, creating paradise or the largest cult in history. — Eric Deggans

Outstanding lead actor, drama: Noah Wyle, The Pitt 

Noah Wyle in "The Pitt."

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It's easy to overlook the massive feat star Noah Wyle achieved on The Pitt's second season; pushing a beloved character to the brink of unlikability. Wyle plays struggling Dr. "Robby" Rabinovich as a good guy in serious crisis, finding new depths. — Eric Deggans 

Outstanding lead actress, drama: Rhea Seehorn, Pluribus 

Rhea Seehorn in "Pluribus."

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At least half of this show is just watching Rhea Seehorn's Carol all by herself, parsing out the rules of a new post-apocalyptic world while mourning her wife. Yet it's always compelling, because Seehorn is a talent who should already have an Emmy! — Aisha Harris

Outstanding supporting actress, drama: Karolina Wydra, Pluribus 

Karolina Wydra in "Pluribus."

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Hoping Emmy voters look past the four actresses nominated from The Pitt to honor a performer who brought empathy and depth to a thankless role: Karolina Wydra as Zosia, the voice of the global hive mind, talking to Rhea Seehorn's Carol in Pluribus. — Eric Deggans 

Outstanding comedy series: Margo's Got Money Troubles  

Elle Fanning in "Margo's Got Money Troubles."

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Apple TV's Margo's Got Money Troubles is a comedy nominee that doesn't seem like one. But the story of a young woman leaning into problematic choices to build a life with her baby and quirky family was the year's most surprising, energizing show. — Eric Deggans 

Outstanding lead actor, comedy: Yahya Abdul-Mateen II, Wonder Man  

Yahya Adbul-Mateen II in "Wonder Man."

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This nomination was a surprise after Marvel cancelled its creative, quirky superhero series, Wonder Man. But star Yahya Abdul-Mateen II is spellbinding as a superpowered guy who just wants to be a successful actor, blending comedy, pathos and drama. — Eric Deggans 

Outstanding lead actress, comedy: Lisa Kudrow, The Comeback   

Lisa Kudrow in "The Comeback."

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The category's stacked, but Lisa Kudrow's Valerie Cherish threads many needles beautifully: self-absorbed yet caring, oft-humiliated yet resilient, wacky but grounded when necessary. As a character in Season 3 says to her: "To me, you're it." Indeed. — Aisha Harris  

Outstanding supporting actress, comedy: Kate O'Flynn, Widow's Bay  

Kate O'Flynn in "Widow's Bay."

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It's all there in Episode 4, the one in which Patricia's desperate play to improve her social status — a cocktail party — goes awry. Kate O'Flynn knows this character, what drives her and what makes her so cringe (to us). It's utterly mesmerizing. — Aisha Harris 

Outstanding supporting actor, comedy: Nick Offerman, Margo's Got Money Troubles  

Nick Offerman in "Margo's Got Money Troubles."

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Nick Offerman excels playing macho guys who are more sensitive than anyone expects. But he scales new heights as Jinx, an ex-wrestler/once-estranged dad, struggling with addiction while trying to support his daughter in Margo's Got Money Troubles. — Eric Deggans 

Outstanding writing for a comedy series: The Comeback 

Lisa Kudrow in "The Comeback."

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A new season comes around every 10 years (like the census!) to provide us a clear-eyed accounting (like the census!). This show was right about reality TV and streaming services; we ignore this season's dire, hilarious warnings about AI at our peril. — Glen Weldon 

Outstanding limited or anthology series: DTF St. Louis  

Jason Bateman and David Harbour in "DTF St. Louis."

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It's tough to explain how a show about the mysterious death of a schlubby guy stuck in a love triangle became the year's most creatively quirky limited series. Somehow, star David Harbour turns this tale of middle-aged desperation into poignant, dark comedy. — Eric Deggans 

And already announced

I'm happy to report that two of my picks already took home their Emmys in a ceremony last weekend formerly known as the Creative Arts Emmys. So congratulations to Betty Gilpin, who won outstanding guest actress in a comedy for Widow's Bay, and to The Muppet Show for outstanding writing for a variety special. (A third pick — Connor Storrie's game, goofball turn as SNL host — didn't end up winning outstanding guest actor in a comedy, but seeing as that award went to the late Rob Reiner for The Bear, I'm not complaining.) — Glen Weldon
Copyright 2026 NPR

A Spanish-language TV singing competition from Mexico is doing something that mega-popular shows like The Voice are not. México Canta brings contestants from the U.S. and Mexico together to share the stage — and cultural ties.

“I am very connected to my Mexican side and those roots, [but] I've never really gotten to perform for such a big Mexican audience,” said Tiffany Galaviz, who performed on the show last month. She was born and raised in L.A. County and lives in Glendale.

The semifinals were held in L.A.’s Orpheum Theater on Aug. 23, and the winners were chosen by hundreds of thousands of people who cast votes online. Galaviz made it through, which means she’ll be one of seven finalists who will perform in the competition on Sunday, Sept. 13 at Mexico City’s prestigious Auditorio Nacional.

Three will be named winners and will receive recording contracts.

“It's a huge, huge venue [that’s]  very important to the Mexican culture,” Galaviz said. “More than anything, I just feel really proud, especially making my family proud. Most of my family is from Sinaloa, and I spent a lot of summers there growing up."

Tiffany Galaviz is a mariachi musician in Southern California.

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Studying mariachi since she was 8

The U.S. semi-finalists included performers from Arizona, Illinois and New York, while finalists from Mexico came from Morelos and Mexico City, among other places.

Galaviz is 24 and first started learning to play violin and sing in mariachi bands when she was 8. She plays violin and sings in mariachis across Southern California now and makes a living from it.

“I signed up for México Canta because I feel like I have everything that I need except the connections, the resources, the producers, the studios,” she said.

Created as an alternative to songs that glorify violence

The Voice and its Spanish-language counterpart La Voz create a platform for celebrity and the potential for stardom. But that’s less so for México Canta. The competition was created by Mexico’s Secretary of Culture to bring together people of Mexican heritage from both sides of the U.S.-Mexico border around songwriting that’s an alternative to music that glorifies violence.

“We’ve strengthened fraternal ties between people in Mexico and the U.S.,” said Claudia Curiel de Icaza, Mexico’s culture secretary, when she presented the seven U.S. semi-finalists at a morning press conference on July 23. The seven semi-finalists from Mexico were presented a week later.

“Youth are front and center in the transformation of culture. [The contest has shown] that music has no borders, and it is furthering fellowship between Mexicans and Mexican Americans,” Curiel said.

Galaviz said that’s another important reason she signed up for México Canta.

She picked the corrido musical genre for the song she performed at the Orpheum. She’s had a love-hate relationship with corridos, she said, because many contemporary songs in the genre glorify drug dealing and violence.

Tiffany Galaviz performed at the México Canta semifinals at the Orpheum Theater in downtown L.A. on August 23, 2026.

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“I felt like I could make a positive impact, not just me but the rest of the contestants [too] by doing songs that are a little bit more positive in nature in their lyrics,” she said.

The song is about a breakup and begins with a description of a photo torn in two. It’s about a woman’s heartbreak, she said, “ but then it kind of shifts to an empowerment, you know, of being able to be by yourself as a woman.”

Galaviz began to get teary after finishing the song and talking to the presenter on stage.

“[I'm] proud of being able to represent Mexico and my roots. … It means a lot to have my family here, who’ve always supported me,” she said.

Days after making it past the semifinals, Galaviz had not picked the song she’d sing for the Sept. 13 finals. The performance carries weight for all contestants because it’ll be three days before Mexican Independence Day. Held in Mexico’s capital, the finals will take place in front of thousands of people, with an audience on TV, radio and online on both sides of the border.