The Brief

One of the joys of living in Los Angeles is that you can find performances and art exhibits just about everywhere, from public murals around town to improvised concerts along the L.A. River.

In that spirit, Metro’s Art Bus brings dozens of portraits to regular bus routes across L.A. County – and if you’re lucky, it might even be coming to your local route.

The artwork

When you’re about to board a Metro Art Bus, maybe you’ll see those very words in big lettering on the side windows, or maybe you’ll notice the portraits lining either side of the vehicle. Either way, you can tell right away that this isn’t a normal bus – after all, it has a wraparound on the outside that isn’t trying to sell you something.

But the art exhibit isn’t just on the outside — you’ll also find dozens of portraits inside where the ads would normally be. As long as the bus isn’t full to the brim and you don’t mind giving up your seat, you can walk around and see the different portraits.

The portraits also feature lots of different kinds of transportation, even including air travel. One such portrait is “Traveler” by the Colombian-American artist Carolyn Castaño. The work is a collage that incorporates signs many people might recognize from LAX alongside flowers and plants from Colombia and California, where Castaño lives now.

Carolyn Castaño's "Traveler," pictured right, pays tribute to L.A.'s international roots by incorporating flowers from Colombia and California into the work, along with an image of signage at LAX.

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Courtesy Metro Art (Los Angeles County Metropolitan Transportation Authority)

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Other portraits on the Metro Bus have different kinds of personal backstories woven in: The artist Edwin Ushiro’s “Better Together” is a portrait of him with his wife on a Metro bus. According to Zeller, that’s because the couple regularly took Metro to see each other when they started dating.

“He said that Metro was actually the lifeblood of their relationship, which is a really beautiful sentiment,” Zeller said. “We didn't put him up to saying that, but he said it really made a difference for them to be able to connect with one another.”

Edwin Ushiro's work "Better Together" is pictured directly to the left of the bus operator posing. The work depicts the artist and his wife, who regularly used Metro to meet with each other when they were dating.

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Courtesy Metro Art (Los Angeles County Metropolitan Transportation Authority)

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How to spot the buses

As with so many aspects of life in Los Angeles, from housing lotteries to jury duty, finding a Metro Art Bus is a matter of pure luck. There are four Metro Art Buses, but none of them follow fixed routes, and the lines they service change from day to day.

“They're all based out of different bus divisions in different parts of the county,” Zeller said. “They travel all over the place, so you will hopefully see them in different places.”

Zeller told LAist that Metro doesn’t currently have a tracking tool to tell riders where the art buses are, so the best way to increase your chances of seeing one in the wild is to go out and ride more buses.

“Think of it as a surprise,” Zeller said. “It'll just surprise you one day when you least expect it, if you're walking down the street or if you are waiting for your bus, and then lo and behold, that's the bus that picks you up.”

The only surefire way to spot them is to go to an event like CicLAvia where Metro brings them out. If you see one while it’s parked, you’ll have the added bonus of being able to pose for photos in the driver's seat.

How it came to be

The Metro Art Buses have been in operation since 2022, though since there are only four of them out of nearly 2,000 Metro buses overall, it’s understandable if you haven’t run into one in the wild yet.

Much of Metro Art’s offerings focus on train stations, but the majority of Metro’s riders take buses — about 75%, according to the agency’s data, and this project brings Metro’s art to these passengers.

Once Metro took on the project, Zeller said that it was only a matter of determining which portraits to include and figuring out how to superimpose them on the bus wraparound – especially since physical features like the bus windows limited the amount of exhibition space on the outside.

And with this project, Metro hopes it can bring public transportation and public art even closer together.

“It's for our riders. It's about our riders,” Zeller said. “It's for the person walking down the street, or even for people driving cars. It really is for everybody.”

To view all the portraits featured on the Metro Art Bus, see here.

LOS ANGELES — As the season of Advent begins, many Christians turn toward quiet reflection and preparation for Christmas. But in several Southern California congregations with large immigrant communities, that sacred anticipation is shadowed by a looming sense of fear.

For worshippers like Mike, an Iranian asylum-seeker who attends a West Los Angeles church, the weeks leading up to Christmas feel less like a spiritual refuge and more like a time of apprehension. He asked that only the anglicized version of his Farsi name be used because he fears speaking publicly could affect his immigration case. He fled Iran after converting to Christianity.

"I kept this secret, my faith as a secret, for like 12 years," he said.

Mike arrived in Los Angeles 18 months ago and says he has tried to build a life rooted in community and respect for his new home. But a series of immigration enforcement actions in the region — including the June arrests of two men outside a nearby church with a large Iranian membership — has shaken him.

"Even church is not safe because it's a public place," he said. "They can get there and catch you."

The Department of Homeland Security says enforcement actions at churches require secondary approval and are expected to be rare. Still, the concern is real inside Mike's congregation, where church leaders asked that the name of the church not be published.

A significant number of Iranian parishioners worship there, and the pastor often invites them to pray in Farsi during services. Lately, fewer take her up on the offer.

"It's part of the heartbreak of these days," the pastor said. "They feel like they have to be apprehensive about it — not even wanting to speak in their own language here."

She said the fear is especially painful during Advent, a season she describes as a time to prepare to "give thanks for this God we have who wants to be with us."

Room at the inn, despite fears

East of Los Angeles, at Baldwin Park United Methodist Church, Pastor Toña Rios unzips a red tent pitched in the middle of the sanctuary. For years, the church took in newly arrived immigrants, providing a place to sleep while they looked for work and housing.

The tent remains as a reminder of that welcome — and of the fears many congregants now carry. Rios estimates that about 80% of her church members are immigrants and says many don't have legal status.

"A lot of them say, 'Don't open the door. Just close the door,'" she said.

Rios urges a different posture, especially during Advent. She uses the tent to help her congregation imagine being the ones who offer shelter, not shut others out.

"It is very hard," she said. "But Jesus is going to be born in our heart. That's why we need to be prepared."

For longtime church member Royi Lopez, the sense of vulnerability goes beyond immigration status. Lopez is a U.S. citizen but says she often feels targeted because she is Latina. Many of her relatives are undocumented, and she worries constantly about them.

"What if on my way to church, they catch us?" she said. "On a daily basis, we're scared of going to the school, to work, to church, to even the grocery store."

Lopez says that during Advent, these fears remind her of the Christmas story itself — of Mary and Joseph searching for somewhere to stay, turned away again and again until somebody finally took them in.

"Even though so many doors were closed, somebody opened a door," she said.

That theme of welcome runs through the hymn chosen for every Sunday of Advent at Baldwin Park United Methodist Church, "All Earth is Hopeful." Its lyrics speak of a world longing for liberation, where people labor to "see how God's truth and justice set everybody free."
Copyright 2025 NPR

The Supreme Court today is hearing a billion-dollar case about whether internet providers can be liable for their users' committing copyright violations using their services.

The legal battle pits the music entertainment industry against Cox Communications, which provides internet to over 6 million residences and business.

A coalition of music labels, which represent artists such as Sabrina Carpenter, Givēon and Doechii, sued Cox alleging that company should be responsible for the copyright violations of internet users that Cox had been warned were serial copyright abusers.

The coalition argues Cox was sent numerous notices of specific IP addresses repeatedly violating music copyrights and that Cox's failure to terminate those IP addresses from internet access means that Cox should face the music.

In its briefs, the coalition argued many of Cox's anti-infringement measurements seem superficial and the company willingly overlooked violations.

The coalition points out that Cox had a 13-strike policy for potentially terminating infringing customers, under which Cox acted against a customer based on how many complaints it received about a particular user. The Cox manager who oversaw the Digital Millennium Copyright Act, the law at issue in this case, told his team to "F the dmca!!!"

"Cox made a deliberate and egregious decision to elevate its own profits over compliance with the law," the coalition asserts.

The Fourth Circuit Court of Appeals and a jury agreed with the coalition, with the jury awarding the coalition more than a billion dollars in damages.

Cox argues it should not be liable for its customers' actions as it never encouraged the copyright infringements, its terms of service prohibit illegal activities, and it does not make additional money when customers use its internet to infringe on copyrights.

In its briefs, Cox specified that less than 1% of its users infringe on music copyrights and that its internal compliance measures "got 95% of that less than 1% to stop." It asserts that if the Supreme Court does not side with them, then "that means terminating entire households, coffee shops, hospitals, universities and even regional internet service providers (ISPs) — the internet lifeline for tens of thousands of homes and businesses — merely because some unidentified person was previously alleged to have used the connection to infringe."

A decision in the case is expected this summer.

Copyright 2025 NPR

The push to ban gas-powered leaf blowers has gained an unlikely figurehead: Cate Blanchett, the Australian actress.

“Leaf blowers need to be eradicated from the face of the Earth,” she said in an interview in March. Her complaints have gone viral on TikTok and other social media platforms. “It’s a metaphor for what’s wrong with us as a species,” Blanchett said. “We blow shit from one side of our lawn to the other side, and then the wind is just going to blow it back!”

Her complaints about leaf blowers — equal parts entertaining and earnest — stretch back nearly 20 years, and now the mood has caught up with her. Today, more than 200 local governments in the U.S. have restricted gas-powered lawn equipment or provided incentives to switch to quieter, less-polluting electric tools. The first bans date back to the 1970s, but the trend picked up after the pandemic lockdowns in 2020, when newly homebound workers discovered just how inescapable the whine of their neighbor’s leaf blower can be.

“With every year that passes, more and more communities across the country are taking action to address the shocking amount of pollution and noise from gas lawn equipment,” said Kirsten Schatz, clean air advocate at the Colorado Public Interest Research Group, called CoPIRG.

Gas-powered leaf blowers aren’t just annoying; they’re bad for public health. Closing the windows can’t shut out their low-frequency roar, which can be louder than the World Health Organization’s recommended limit of 55 decibels up to 800 feet away. The unwanted sound can lead to high levels of stress, along with disturbing people’s sleep and potentially damaging hearing over time.

Leaf blowers’ two-stroke engines also churn out a noxious blend of exhaust: fine particulate matter, smog-forming gases, and cancer-causing chemicals like benzene and formaldehyde. By one estimate, running a gas-powered leaf blower for an hour emits as much smog-forming pollution as driving a car from Los Angeles to Denver.

And while lawn and garden equipment is only a small slice of global carbon emissions, leaf blowers and other gas-powered tools “pack a big punch for the amount that they create based on the size of their engines,” said Dan Mabe, the founder of the American Green Zone Alliance, a group that works with cities and landscapers to shift to electric equipment. In 2020, fossil-fueled lawn and garden equipment in the U.S. released more than 30 million tons of CO2, more than the emissions of the city of L.A.

Cities and states across the country have taken different approaches to dealing with the problem. California’s law banning the sale of new gas-powered blowers took effect last January, while cities like Portland and Baltimore are phasing out their use. Some places, like Wilmette, Illinois, have enacted seasonal limits, either permanently or until a full ban takes effect. Others, like Colorado, attempt to sweeten the deal of buying electric lawn care equipment, offering a 30 percent discount.

But implementing the bans is proving more challenging than many expected. Many communities are frustrated that the new rules are not being properly enforced, said Jamie Banks, the founder and president of Quiet Communities, a nonprofit working to reduce noise pollution.

Westport, Connecticut, fought for years to get a seasonal restriction on gas-powered blowers, only to find that local officials were not enforcing it, Banks said. Noise complaints are not exactly at the top of police officers’ priority lists, and sometimes ordinances are written in a way that’s hard to carry out — police aren’t usually expected to go around town taking noise readings, for example. Some communities are taking a deliberate approach to the problem: Banks pointed to a group of towns in the greater Chicago area, including Wilmette, that are trying to create consistent policies across the region and working with the local police.

Then there’s the matter that swapping gas blowers for ones powered by electricity isn’t as straightforward as it sounds. While the costs are comparable for homeowners — you can get electric blowers at a big-box store like Home Depot for around $200 or less, cheaper than most gas ones — electric blowers are more expensive for commercial landscapers. They require multiple batteries for workers to get through the day. While a typical professional gas-powered blower runs for $550, a comparable electric one costs $700 and requires thousands of dollars worth of batteries. Landscapers also have to buy hundreds of dollars worth of charging equipment and find ways to charge safely on the go.

Plus, it can be difficult to meet the standards customers expect with electric leaf blowers, which are less powerful than gas ones. “If you have customers that are demanding that you get everything off the ground, and you better do it quickly, and you’d better not charge me too much money, it’s really tough,” Banks said.

Bans have already generated a political backlash in some Republican-led states. Texas and Georgia have passed laws prohibiting local governments from regulating gas-powered leaf blowers. The Western States Petroleum Association, an oil industry group, launched a Latino-focused messaging campaign in California that pushes back against laws to electrify vehicles and leaf blowers. But leaf blowers aren’t just a culture-war lightning rod; in some places, they’re leading to personal conflict. In Evanston, Illinois, a suburb north of Chicago, several landscape workers allege they’ve been harassed by people reporting violations of the local ban.

The American Green Zone Alliance noted in a recent statement that “heavy-handed bans on gas-powered leaf blowers can unintentionally create stress and hardship for workers who often labor for low wages, with limited benefits or control over their working conditions.”

Although there remain a lot of details to work out, the organization is still pushing lawn care to go electric. “We are trying to convince our industry, ‘Look, we need to accelerate this,’” Mabe said.

The alliance is advocating for incentives that are sufficient to make the new equipment affordable for landscaping businesses operating on razor-thin margins. (In the end, lower fuel and maintenance costs for electric blowers can save companies money if the equipment is properly cared for, Mabe said.) Seasonal bans on gas-powered leaf blowers may be more feasible in some places than year-round ones, because they leave short windows for using the fossil-fueled devices in the spring and fall to take care of heavy cleanup jobs.

Another solution: Customers could loosen their expectations and accept a scattering of leaves, instead of demanding a perfectly manicured lawn. “Now, if that aesthetic was more relaxed, that could help change things,” Banks said. “Maybe they wouldn’t need to carry so many batteries.” Leaving some leaves on the ground is, at least ecologically speaking, a good thing — decaying leaves fertilize the soil and form a protective layer that provides shelter for snails, bees, and butterflies.

And of course, in many cases, a leaf blower isn’t needed at all: You can do as Blanchett advises and take matters into your own hands with a good-old fashioned rake.