The Brief

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.

Held by the Los Angeles Review of Books since 2019, LITLIT, or The Little Literary Fair, started out as a way to introduce students from workshops to the publishing industry.

It has since grown into a gathering of independent West Coast publishers from Seattle to Santa Monica. This year’s iteration on June 6 and 7 is the biggest yet, with more than 50 publishers participating in the event at Sci-Arc in Downtown L.A.

People look through a small library of used books from "A Good Used Book," a Los Angeles based book pop-up, during LITLIT 2024.

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Los Angeles Review of Books

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It’s ‘small’ lit

The fair aims to get the public in front of books that don’t originate from the so-called “Big Five” publishers — behemoths like Penguin Random House and HarperCollins.

“They really get to control what people get to see, and so we hope LITLIT lets people see more of what is out there and what they can support directly,” said Emily VanKoughnett, public programs and engagement director for LARB.

One of VanKoughnett’s favorite independent publishers will be there. Two Lines Press, the publishing arm of San Francisco’s Center for the Art of Translation, deals specifically in translated works.

Two Lines Press, which specializes in translated works, show off their books to attendees of LITLIT.

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Los Angeles Review of Books

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They’ve published authors from across the world, translating books from more than 100 different languages into English.

“ We do our work in quiet rooms, so it's really nice to be able to meet readers and talk to them about what's interesting them. These festivals are really valuable to us in that way,” said CJ Evans, publisher and editor-in-chief of Two Lines.

Pressed locally

Local favorite Angel City Press, which operates under the auspices of L.A. Public Library, will also be there with one of their newly published titles, Los Angeles Central Library POPS, that celebrates 100 years of the Central Library.

People at LITLIT 2024 look through different small presses.

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Los Angeles Review of Books

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You’ll also find LA-based Errant Press, which specializes in books that break the traditional form — like a poem printed on measuring tape or a matchbox sized poetry collection.

“It’s really cool to see the kinds of risks that people are able to take, the kinds of communities they’re able to serve and really highlight here on the West Coast,” said Irene Yoon, executive director of LARB.

Panels, printing presses, and workshops

The two-day fair also hosts various panels and workshops, including one on the art of comedic writing and another on how to tell the stories of Los Angeles through archival materials.

“This is, I think, the most panels we've ever done,” VanKoughnett said.

People sit down for a panel discussion at LITLIT 2024.

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Los Angeles Review of Books

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Workshops on how to navigate the literary world with a completed manuscript and making your own comics and zines are also on the itinerary.

And Carson’s International Printing Museum will demonstrate how to screen print your own bookmark.

“It's not until we're all in the same room with all our best books literally out on the table that you get to see kind of what a phenomenal publishing culture Los Angeles truly has,” said Terri Accomazzo, editorial director of Angel City Press.

Running a small business is tough under normal circumstances. Running one in a wildfire burn scar can feel nearly impossible.

That's the reality many Altadena business owners are still navigating nearly a year and a half after the Eaton Fire destroyed the community and the local economy. Businesses are grappling with how do you stay open when so many of your customers are gone?

At Wet Paws, a pet grooming business along Lake Avenue, that question recently came to a head.

The shop reopened in January but business remained slow. Wet Paws co-owner Stephanie Trujillo estimates the fire had displaced up to 90% of their customers.

Marley, a Cane Corso from Pasadena, went for her first grooming session at Wet Paws in more than a year.

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Then came a conversation with their landlord several months ago that forced a decision.

"He reached out and said, 'Are you going to re-sign your lease?'" Trujillo recalled.

The answer wasn't obvious.

"I said, unfortunately, we're not even making it. We're paying out of our own pocket," she said. "So he said, 'I'll give you until June 1.'"

The deadline meant Trujillo and her mother, Linda Alashti, who have owned the business together since 2023, had only a few months to figure out whether Wet Paws had a future in Altadena.

Wet Paws is hardly alone. As businesses struggle, Los Angeles County recently launched a program offering free marketing assistance and storefront improvements to fire-affected businesses. The deadline to apply is June 8.

A flag banner and sandwich board on the sidewalk outside Wet Paws advertises its services.

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The county also operates a gift card program to encourage residents to spend money at fire-impacted businesses.

But relief has not arrived quickly enough for many businesses.

One particularly slow April Sunday at Wet Paws drove home how dire the situation had become, when they had only one customer.

As she drove home to Fontana, Trujillo began composing a social media post.

"So this isn't easy for us to share," the post began, "but I wanted to reach out with an open heart and hope."

In the message, Trujillo asked the community to book appointments and spread the word to help their business survive.

Before posting it, Trujillo showed it to her mother.

Wet Paws groomer Elizabeth Ranes takes care of a basset hound client.

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"We're very prideful, and it's very hard to ask people for help," she said. "I felt embarrassed that we had to ask the community for help."

Her mother's advice was simple. "Just post it," she told her. "The worst that's going to happen is nobody sees it or nobody cares."

Instead, the opposite happened. By the next day, the post had been viewed and shared hundreds of times across Instagram and Facebook.

The phone started ringing, said Wet Paws groomer Elizabeth Ranes.

"I got well over 50 calls," Ranes said. "We booked out for the last three weeks of the month when we made that post.”

Customers told Alashti that they “didn't know you were back, because they don't come this way anymore.”

Decor inside Wet Paws embraces a playful canine motif.

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Among those who returned was Penny Dahlstrom, a Pasadena resident whose 113-pound Cane Corso Marley had been a Wet Paws regular before the fire.

Dahlstrom had tried taking Marley to a large pet store chain while Wet Paws was closed.

"My husband went in to pick her up, and he hears crying, and it was her," Dahlstrom said. "That's not just her nature."

The social media appeal didn't just bring back former customers. It also introduced the business to new ones, Trujillo said.

But recovery remains uneven.

Some days are still slow. And the shop continues to deal with lingering fire-related electrical damage in the back of the building.

Wet Paws is operating on a temporary electrical system, limiting how much power it can use at any given time.

"If we run our AC, and the neighbors run their AC, we lose power," Trujillo said.

As the June 1 lease deadline approached, Trujillo and her mother weighed their options. They could walk away and cut their losses. Or they could commit to rebuilding alongside a community they had come to love.

Ultimately, they thought about the response to their post and the customers who had shown up when the business needed them most. And they had faith that Altadena would rebuild to its full strength.

They chose to renew the lease for another three years.

"I can't imagine what the community is going through, losing their homes and losing everything that they had," Trujillo said. "Yet they're still coming back."

And as long as they do, she said Wet Paws will be there for them and their fur babies.

On a recent Monday, students at Breed Street Elementary in Boyle Heights started their day like no other — with a tour of the murals hand-painted over the weekend across the playground.

It’s the latest of seven elementary schools in and around L.A. to get the treatment. Over 70 murals in the last 13 years, brought by a collective of artists to students in under-resourced neighborhoods with little access to art education.

“The kids were so excited,” said Stefanie Barbee, a math teacher at Breed. “Just pure joy.”

The students snaked through the paintings on handball courts and school walls: cartoon animals, bright orange flowers, a circle of meticulously painted lines. The works span genres and sensibilities.

Mural by artist hi-dutch.

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“It's grassroots. We're not getting money from anyone,” said Erik Caruso, the fifth-grade teacher in Paramount who's the group glue. To them, they are just an assembly of like-minded friends — and friends of friends — who spend one weekend out of the year hanging out and painting murals for school kids.

But the collective is anything but typical. It includes artists like the late Rich Jacobs, who died from leukemia this year; Tim Kerr; pro skater Ray Barbee; and Japanese artists Yusuke Hanai and hi-dutch. The vibe's always low-key, and somehow they've managed to stay under the radar.

Mural by artist Yusuke Hanai.

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Mural by artist Yusuke Hanai.

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“The kids have no idea that they show in huge galleries or have pieces hanging in museums,” said writer Martin Wong, co-founder of the pioneering Asian pop culture magazine Giant Robot. "Or they're famous in the skateboarding scene or surf or music."

Their reward is the Monday morning after, seeing the happiness on the kids’ faces.

“The artists are waiting all weekend — it’s that moment,” Caruso said.

Mural by artists Sandy Yang and James Hamblin.

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James Hamblin was at Breed for the meet-and-greet earlier this month. He painted a mural designed by his partner Sandy Yang on one of the handball walls.

“Sandy's design is pretty abstract, so it was interesting because the kids were [asking], you know, ‘ What is it?’” Hamblin said. “It was great because I could tell them I had no idea and like, ‘What do you guys think it is?’"

Bring the art museum to the school

Erik Caruso.

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The idea came to Caruso in 2011, after he took about two dozen students from his Paramount school to MOCA and discovered that only four had ever been to an art museum.

“I wonder if there's a way we can bring the art museum to the school,” he said.

Caruso, a 24-year veteran, was no stranger to bringing art — and artists — directly to his students. In 2009, he launched a monthly art project for fifth-graders that culminated in a year-end show where they met and shared work with living contemporary artists.

Caruso's 5th grade art project, featuring works by artist Tim Kerr.

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The murals were next.

They painted their first ones at his school in 2012. Soon, the project expanded to the rest of Los Angeles.

Crew at work

Mural by artist Chris Johanson.

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Operation Creative Freedom

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Mural by artist Chris Johanson.

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Operation Creative Freedom

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The painting takes place between Friday and Sunday, but planning takes months.

At Breed, the connection was made through math teacher Barbee — wife of Ray — who is on a two-year stint at the Boyle Heights school to help students catch up on the subject.

“I had sort of planted that seed that at some point I would love for a school I was working at to be the recipient of the beautiful work,” she said.

Breed Street Elementary in Boyle Heights.

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She brought Caruso out for a site visit last September.

“He has a really amazing kind of vision about where to place the artists … based on just their artwork and where it is in relation to the street view,” Barbee said.

Next came an introduction to the principal and the approval process.

“One of the biggest challenges with what we are doing is, you know, they want flipping dolphins and stuff like that,” Caruso said. “But we want to cross over into fine art pieces.”

Mural by artists Lookout & Wonderland

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Mural by artists Lookout & Wonderland

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Paying it forward

Caruso estimated that as many as 40 artists and musicians have joined the effort.

The core group now, he said, is about 11 people, and friends and families often tag along to help out, given they have just 16 hours over three days to finish the job.

Mural by artist Oitama.

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Mural by artist Lori Damiano.

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Among the regulars: Wong and his wife, Wendy Lau, who once organized DIY punk shows to fund music education at their daughter's Chinatown school. In Caruso, they saw a kindred spirit.

Caruso later brought the collective to paint at that school and eventually invited their daughter, Linda Lindas bassist Eloise Wong, to join his fifth-grade art and music project.

“All of these kids on the blacktop were all just screaming their hearts out,” Eloise said. “It's cool how Erik — Mr. Caruso to them — shows them, like, raw ways to express themselves through cool art.”

A new free record shop for survivors of last year’s Eaton and Palisades fires is celebrating with a grand opening party Saturday night.

After losing his home in the Eaton Fire, Brandon Jay founded Altadena Musicians to get instruments back into the hands of musicians who lost their gear in fires.

Now he’s doing that with vinyl records, too.

“We want to be here to help replace those items and support music in people’s lives that can’t necessarily afford it right now because they’re saving all their pennies just to live and also just to rebuild their homes,” Jay told LAist.

Jay says they’ve seen roughly 3,000 records donated so far. Now they have a dedicated space on Lincoln Avenue where fire survivors can sign up for time slots and shop for up to 10 records a month.

“It’s a really lovely distraction but it kind of keeps me going as well just to know that we’re trying to build something great for the community and keep us all moving forward,” Jay said.

The store will carry copies of the benefit album, Gimme Shelter: Songs for LA Fire Relief. The compilation features cover art by Shepard Fairey and L.A. specific tracks from artists like Elliott Smith ("Angeles" of course), Norah Jones, The Flaming Lips, as well as a cover of "Burning Down the House" by Talking Heads performed by Jay and about 50 other fire-impacted musicians.