The Brief

When guitarist Eddie Van Halen died of cancer in 2020, his older brother Alex was overwhelmed by grief. Only 20 months apart in age, they had grown up together as "a yin and yang ... the two halves of a whole," Alex says.

Raised by a Dutch father and an Indonesian mother, the brothers immigrated to the U.S. from the Netherlands when Alex was 8 and Eddie was 6. In California, they learned to play music — mostly classical and military marches — but their focus switched to rock once they started listening to The Beatles and The Dave Clark Five. In 1974, they formed the band Van Halen, with vocalist David Lee Roth and bassist Michael Anthony.

Initially, Alex was the guitarist in the family, but he discovered that he had "no connection with the instrument," he says. "I just wasn't feeling it." His brother's link to the guitar, on the other hand, felt like fate. "The fact was, when Ed played, he made that instrument sing. It was unbelievable. [I said,] 'Ed, you're playing guitar. I want drums.' "

Known for their extravagant, high-energy performances, Van Halen would go on to produce 12 studio albums and singles that included "Runnin' with the Devil," "Hot for Teacher" and the 1983 anthem, “Jump." The band went through some famous lineup changes (mostly singers) through it's career, but Eddie and Alex are the only members of Van Halen who played on all of those albums.

In the new memoir, Brothers, Alex looks back on his relationship with Eddie and the decades they spent playing music together. "We left a lot unfinished," he says. "Obviously, every time I hear some of our music, that puts me right back there."

Interview highlights

On how Eddie Van Halen found his voice as a guitar player

He played guitar from the moment he woke up to the moment he went to sleep. And it was just his way of either communicating or finding peace with himself and the earth. …  It's just that Ed had a sensitivity that was very difficult to describe. … The problem with Ed was he could play anything. So the most difficult thing for him was to find his own voice. And he spent a lot of time doing it. Then when he finally found it, that was it. Big smile.

Brothers, by Alex Van Halen

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HarperCollins

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On lighting his drum kit on fire during performances

For me, fire represents the temporariness — that only the moment counts. I mean, the flame is there and poof, it's gone. So it's life, right? So to me, that represented that. And there was an element of danger because we did it on such an amateur level. … My favorite memory of all of that was — we kind of gotten it down to a science. And as we're doing it during the performance, the lighter fluid starts to come down my arm. And then I look over and I notice my arms on fire. So I'm thinking, that can't be good, right? So I look at [my tech] Greg, who, in theory, he's there with a fire extinguisher. So I look at him and he's looking at me and he gives me the thumbs up. “Looks great, man!” I'll never forget that as long as I live.

On the This is Spinal Tap mockumentary that satirized a heavy metal band

That wasn't funny at all. Ed and I saw it and we said, “That's what we experienced!” That is really how things happen. It's mind bending. The public doesn't really have any idea what goes on behind the scenes. And I'm certainly not going to burst the bubble. But that movie, there were a lot of elements that were more true than they were parody.

On the band getting upset when Eddie did guitar on Michael Jackson’s “Beat It”

If I remember right, he did consult [us] and we said, No. ... I did want to kick his ass, because our model was basically Led Zeppelin. The way that they structured their business, the way they structured how they played, who they played with. You couldn't get you couldn't get Jimmy Page anywhere else. You can only get him on Led Zeppelin. Come to the show. That's it. You don't get in with Michael Jackson. But Ed violated that. And it started a whole cascade of bad, bad vibes.

On David Lee Roth's departure from the band in 1985

[Eddie's collaboration with Michael Jackson] really was not the single thing because things were already starting to unravel. When we named the album 1984, it had nothing to do with the year. It had to do with George Orwell and the dystopia of what was going on. This band was so fractured, we barely ever played together anymore. And unfortunately, MTV became the predominant way of conveying all this. And Dave being the visible guy naturally opted for more visual stuff. I don't blame him for any of it, but it's just too bad [because] we were on the cusp of something really, really big. … Nobody fights better than friends.

On Monday, Los Angeles travels back in time. Well, sort of.

The Varnish, the famed speakeasy hidden behind a secret door at the back of Cole’s French Dip, will be reconstituted for one night only as part of a special pop-up at Firstborn in Chinatown.

(Meanwhile, Cole's itself will be open through the holiday season, with its last night of regular service planned for Dec. 31.)

The iconic bar, which shuttered in 2024 after a 15-year run, holds a special place in the hearts of many Angelenos, who believe it's where L.A.’s modern cocktail revival truly began. The event reunites three bartenders who all came up through The Varnish’s famously exacting school of cocktail-making. Kenzo Han (recently named Esquire’s Bartender of the Year) cut his teeth there before moving into roles that established him as one of L.A.’s most respected classic-cocktail technicians. Wolf Alexander and Miles Caballes emerged from the same pipeline.

One night only

Kenzo Han, bar director at Firstborn and former Varnish bartender, is hosting two fellow Varnish alumni for the Monday pop-up.

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Ron De Angelis

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Han is now Firstborn’s bar director, where he leads a tight, classics-leaning bar program. The restaurant sits inside Mandarin Plaza, where chef Anthony Wang turns out playful comfort dishes with Chinese and American influences. It’s a lively, unfussy neighborhood hangout just off Broadway, surrounded by neon, noodle shops and family-style restaurants.

The Varnish connection

All three bartenders trace their lineage back to Sasha Petraske, who, in 2009, co-founded The Varnish with Eric Alperin and Cedd Moses, the owner of Cole’s French Dip.

Petraske traded '90s flash for pre-Prohibition craft: fresh citrus over sour mix, precise technique over bottle tricks, elevating cocktails from party fuel to art form.

Miles Caballes brings his Varnish training back to the bar for one night.

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Courtesy Firstborn

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Wolf Alexander, another Varnish alum, demonstrates the precise technique that defined the speakeasy's approach.

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Courtesy Firstborn

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The Varnish became the city’s clearest expression of Petraske’s cocktail philosophy, where his playbook of precision, restraint and quiet hospitality took root on the West Coast. (Petraske passed in 2015.)

Han, Alexander and Caballes all trained in that environment, absorbing the Petraske rules of clean builds, tight technique and no-nonsense cocktails.

What to expect

For one night only, from 6-10 p.m., the trio will channel that tradition through a Varnish-style menu: curated classics only, no custom builds, with all cocktails priced at $20. Two featured drinks nod directly to the bar's lineage. The Spring Blossom — created at The Varnish — combines mezcal, French aperitifs, including Suze and Lillet Blanc, mole bitters and a grapefruit twist. Death & Taxes features scotch, gin, sweet vermouth, Benedictine (a herbal liqueur), Angostura and orange bitters, finished with a lemon twist.

On the food side, chef Anthony Wang is reviving his cult-favorite Blood Orange Chicken Sando ($20), served with radicchio, alongside a limited run of his Shanghainese-style McRib ($24) — a playful, sweet-and-sour riff built around tender ribs and “all the stuff” that made the original such a guilty pleasure.

The blood orange chicken sandwich at Firstborn from chef Anthony Wang.

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Ron De Angelis

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Expect a casual, walk-in-only atmosphere where guests can grab a seat at the bar and let the cocktail nostalgia wash over them.

Whether you were a Varnish regular or only heard the stories, this pop-up is a rare chance to see that style alive again — familiar faces, bespoke cocktails and the kind of muscle-memory bartending that defined an era of L.A. drinking culture. For newer drinkers, it’s a glimpse of the cocktail philosophy that shaped the city as we know it.

It’ll likely get busy early, and the food specials may run out fast — but that’s part of the charm. The Varnish’s legacy has always been about small rooms, sharp precision and moments you catch only if you’re paying attention.

In the city of Los Angeles, neighbors or homeowner groups who choose to fight approvals of new housing are required to pay a fee when filing an appeal.

Right now, that fee is $178 — about 1% of the amount the city says it costs to process the appeal. But that fee soon will go up.

On Wednesday, the L.A. City Council voted to increase the fee to $229 but rejected a proposal by the city administrative officer that would have raised the cost for appellants to more than $22,800, or 100% of the cost.

Some advocates for making housing easier to build argued the city should have adopted the higher fee.

“Appeals of approved projects create delays that make it harder to build housing and disincentivize future housing from being proposed,” said Jacob Pierce, a policy associate with the group Abundant Housing L.A.

At a time when L.A.’s budget is strained, Pierce said, if someone thinks a project was wrongly approved, “They should put their money where their mouth is and pay the full fee."

The City Council unanimously approved another new fee structure put forward by the city’s Planning Department.

While fees will remain relatively low for housing project opponents, developers will have to pay $22,453 to appeal projects that previously had been denied.

A November report from the city administrative officer said setting fees higher to recover the full cost of processing would have aligned with the city’s financial policies. Generally, fees are set higher when applicants are asking for a service that benefits them alone.

“When a service or activity benefits the public at large, there is generally little to no recommended fee amount,” the report said.

Pierce said he hoped a City Council committee would reconsider the higher fee proposal next year. With the city falling far short of its goal to create nearly a half-million new homes by 2029, he said the city needs to discourage obstruction of new housing.

“Slowing down the construction of housing is expensive for all of us,” Pierce said.

Los Angeles could become the first city in the U.S. to ban ink cartridges that can be used only once.

The L.A. City Council unanimously voted Wednesday to approve the creation of an ordinance that prohibits their sale. The move comes after more than a year of debate over the terms.

Why the potential ban

This builds upon the city’s effort to reach zero waste, including phasing out single-use plastics. You’re likely familiar with some of those efforts — such as only getting plastic foodware by request and banning single-use carryout bags at stores. Multiple plastic bans have been suggested, like for single-use vapes and bag clips, but now it’s ink’s turn.

The cartridges are tough to dispose of because of the plastic, metal and chemicals inside, according to the city. They’re also classified as regulated waste in the state because they can leach toxic substances into the environment, such as volatile organic compounds and heavy metals.

That poses a problem. L.A.’s curbside recycling program can’t recycle the cartridges, and while its hazardous waste program can take them, a significant portion end up in landfills.

Major printer manufacturers and some ink retailers have take-back programs for used cartridges so they can get refilled. However, L.A. Sanitation says there are certain single-use cartridges that don’t have recovery programs. These are usually cartridges that work with a printer but aren’t name brand.

How outlawing them could work

LASAN has spent months figuring out what a ban would cover — and it hasn’t been without pushback. The city’s energy and environment committee pressed the department back in September on how effective a ban would be.

Ultimately, the committee moved it forward with a promise that LASAN would come back with more details, including environmental groups’ stance, concrete data to back up the need and a public education plan.

The department’s current recommendation is that the ordinance should prohibit retail and online establishments from selling any single-use ink cartridge, whether sold separately or with a printer, to people in the city. Retailers that don’t follow the rules would get fined.

So what does single-use mean here? The ban would affect a printer cartridge that:

• is not collected or recovered through a take-back program
• cannot be remanufactured, refilled or reused
• infringes upon intellectual property rights or violates any applicable local, state or federal law

Any cartridges that meet one of these points would fall under the ban, though you still could get them outside L.A.

The proposed ordinance will go to the committee first while LASAN works on a public education plan.

If it ends up getting approved by the full council, the ban likely would go into full effect 12 months later.