The Brief

When Ariel Pittman thinks about the Eaton Fire, she said she thinks about the person with a disability who died waiting to be evacuated, and about the importance of knowing who’s in the area.

“We need to have a sense of responsibility for each other,” Pittman said.

And she thinks about how to get relief money to survivors immediately, Pittman said, “rather than making them fill out mountains of paperwork and drive all over town trying to get resources.”

Pittman, owner and founder of the art gallery Official Welcome in Westlake, is among a group of five women art workers and artists — including Kathryn Andrews, Andrea Bowers, Olivia Gauthier, and Julia V. Hendrickson — who created the mutual aid fund Grief and Hope.

Mutual aid refers to individuals pooling resources to help one another. This collective action can build new social relationships but can also represent a shared understanding that existing relief systems often fail to help everyone.

After the Palisades and Eaton fires a year ago, there was an outpouring of giving for artists and art workers who experienced loss. In small and large gestures, this aid created connection, served as recognition of this shared moment, and suggested new ways of relating to one another.

But those who received aid have ongoing needs beyond what those homegrown efforts have provided, and those who manage aid told LAist that more needs to be done to improve relief systems ahead of the next disaster.

Supporting the art community after the fires

The Grief and Hope fund was intended to draw attention to the economics of working in culture and to the art workers who go unrecognized. It was among a number of initiatives to support artists and art workers after the fires; it raised approximately $1.6 million, much of that already distributed to 271 people.

“I think we all had this shared sense too of just not wanting to see our art world disappear here. And that felt very prescient when the fires happened,” gallery director Gauthier said.

A recent survey about artists in the labor force found more than half of the artists reported being “somewhat or very worried” about being able to afford “food, housing, medical care, or utilities” and around 10% “juggled three or more jobs.”

While some artists do well financially, Pittman said, she has seen art workers living on the edge: self-employed workers, underpaid gallery and museum employees, people who are underemployed or managing multiple jobs.

A disaster only makes their situations more precarious.

The organizers of the mutual aid fund Grief and Hope. From left standing, clockwise: Olivia Gauthier; Ariel Pittman; Kathryn Andrews, Julia V. Hendrickson. Not pictured: Andrea Bowers.

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Grief and Hope’s organizers were already active in supporting artists before the fires, so it came naturally to continue to do so. They quickly set up a fiscal sponsor through The Brick nonprofit to manage the money and researched the minimum requirements needed to distribute aid.

Hendrickson, a small business owner of the arts agency Verge, checked applications for false information, but overall the group aimed to cut red tape — an example they hope bureaucracies can learn from.

The most dominant response Grief and Hope’s organizers heard from aid recipients in a survey was their gratitude for “how little information and hoops we required people to jump through,” Pittman said. She pointed out “the number of people who were just like, ‘thank you for not asking me to quantify my suffering to receive support.’”

Recipients also reported in the survey that they felt more connected.

With its organizers bearing close ties to the community, Grief and Hope was also a hub for information, channeling requests from people wanting to help and sharing opportunities like temporary housing, access to studio space and free art supplies.

In their efforts to distribute funding quickly, members of Grief and Hope recognized that they missed a lot of older people who weren’t on social media or connected to those that are. To remedy this, Grief and Hope organizers were able to distribute funding to those who were less online at a later date.

Pittman said this is another reason why there needs to be data for those distributing resources after a disaster, so that resources could be brought to people, rather than people having to find them or rely on an algorithm to learn about them.

Pittman said her group plans to make one more payment to applicants, but speaking for herself, she doesn’t see Grief and Hope being revived unless they’re uniquely situated to help.

“I hope that the people who saw what we did would do the same for us, that there would be another group like this in the future, for the next thing that needs it, you know?” she said.

And better data would mean future aid groups could get a head start. This group shares an understanding that with climate change, disasters will inevitably become more frequent.

One of Pittman’s collaborators, Andrews, an artist and founder of the gender equality nonprofit Judith Center, has now lost her home twice (first to the Bobcat Fire in 2020, second to the Palisades Fire).

She recognized this is a unique opportunity where people can come together and think about a different future, on how to construct a community anew, but also how to prepare for a different disaster response.

“I don't think a solution after the fact is the right approach because there's just not enough we can do. We need to reengineer it on the front end,” Andrews said. “And I think collectively we should make demands that the government does step up differently, that insurance performs differently.”

Needs after a disaster

Margaret Ross Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

She also lost her and her husband’s art studios, their art storage, and also the period of time, the “soft space” she called it, that her family of four shared before her eldest daughter would go off to college.

When various relief efforts sprung up in the aftermath, the last thing she could imagine doing was driving anywhere to pick up anything.

“You're like, ‘I have to drive where?’” she recalled. “I mean, you're just in such a state of shock that driving anywhere is a hardship.”

Margaret Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

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Griffith and her husband lost their art studios and their art storage in the Eaton Fire.

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Friends showed up for her and her family. At least two rented trucks to bring items to fill their empty rental home. One day five of her husband’s friends came with shovels and screen to remove and filter debris. The friends who took Griffith and her family in after the Eaton Fire said they could stay as long as they needed.

It also helped that she could receive funds quickly from Grief and Hope. There were immediate costs to cover, including paying for a security deposit and rent for a place that cost twice as much as their mortgage.

Even before having furniture for their rental, Griffith said with some amusement, she used aid from art groups to invest in a laser cutter. Griffith, an artist who makes intricate sculptures by cutting repeated patterns through metal and other materials, said it was an essential need for her art practice.

The value of having a space to create

At 72 years old, veteran artist Coleen Sterritt had retired from her teaching career, with plans to focus solely on her art practice and life in her community. She said that this has now been erased. The materials gathered for future projects have burned, along with her house and two art studios. The people in her former Altadena community who consider themselves too old to rebuild or who rented do not plan to return.

“It was like one day you had your life and the next day you did not,” Sterritt said. “It was just gone.”

After the Eaton Fire, Sterritt, her husband, and their two dogs have moved five times. She said it helps to be around people who understand what they went through. There is a sense of isolation among others, including family.

“They don't really understand that it's with us all the time. It's with us all the time,” she said.

Going to art galleries today is a reminder of the art she has lost: sculptural art in the last 15 years, and the works on paper that went back nearly 50 years, her notebooks, and her sketchbooks.

Sterritt received mutual aid from a GoFundMe a former student created for her. Sterritt was initially reluctant, but was persuaded that the GoFundMe was a connection to others who wanted to give, regardless of how much someone could contribute.

But as the one-year mark approached, she said she has noticed that the attention has begun to fade. Sterritt points out, for example, businesses that were so quick to offer discounts at the time of the fires, did not continue much past early 2025. By summertime, businesses appeared to have moved on, she said.

Recovery has been a full-time job — between working to create an inventory of all that was lost and participating in the lawsuit against SoCal Edison, Sterritt has not been able to make art.

Sterritt misses having a studio and the privacy it affords. The loss of a physical place for an artist isn’t the same as it is for a person whose profession isn’t so tied to having a space for creativity, Sterritt said. And space in Los Angeles is hard to come by.

Griffith, too, has found it challenging to make art since the fire. She said to do so, she needs to have three components — time, money and space. She recently was given access, however, to a temporary studio for her eight-week art residency with Arts at Blue Roof. There she seemed to relax.

“There're no distractions here. I'm not, you know, dealing with the burdens of the house rebuild when I come into this room,” she said in an interview at her Blue Roof studio. 

She is not expecting her new home to be ready until 2027, so she hopes that organizations continue to offer studio space to those affected by the fires.

And she hopes people do not forget how long recovery takes.

Funding for this story was provided by UC Berkeley's Greater Good Science Center, as part of its "Spreading Love Through the Media" initiative, supported by the John Templeton Foundation.

LAist reports on local issues for — and with — communities across Southern California, but chances are most readers have never spoken with a journalist before. Your stories and experiences power our reporting, so it’s important that people know what to expect when they speak with a reporter.

That’s what this guide is for.

Below are some tips from our newsroom on what to keep in mind when talking to a journalist.

Remember: You are the expert on your own life

Tell the story you want to tell about yourself.

Be honest. Truthfulness and facts are central to journalistic ethics.

Also know your worth. Reporters come to you for a reason. They may be intimidating because they have a mic or a camera, but you have a perspective they need. Media outlets also want to expand their audiences, and that includes you.

Common questions

How can I get a journalist’s attention?

Contact reporters by social media or send them a personal email — at LAist, contact information is available on our staff page. If you meet a reporter, get their business card. It will usually have a direct phone number to talk with them.

Will all my words be published?

Probably not. Journalists are often working with a limited word count or air time. They will likely use one short sound bite or quote from you. It’s also possible they will not use your interview at all. Reporters and their editors decide what will get published.

Can I see a copy of the story before it's published?

Probably not. It is against journalistic ethics to have sources review a story before it’s published. Imagine if a journalist were to do a piece about government corruption. You wouldn’t want the government agency to review the story and edit it. Editors review stories for accuracy.

When will the story be published?

It depends on the type of story. Some stories are short and may air on the radio or be published online the same day you talk to the reporter. Other times a reporter might work on a story for several weeks or months. It’s OK to follow up with the reporter who talked to you and ask when the story might be done and ask them to let you know where you can read or hear it.

Can I speak with a fact-checker?

You are welcome to ask reporters about their fact-checking process or how they make sure a story is accurate. Not all outlets have fact-checkers. If the story is an investigative story or a long-form or magazine format, designated fact-checkers are more common. At LAist, reporters and editors are responsible for verifying information.

What if I am asked about something that makes me feel uncomfortable?

Your story is your own and during an interview you have full control over what you say to a reporter. Answer questions in any way that makes you feel most comfortable, and you can always decline to answer a question.

What do I do if a reporter asks me about my immigration status?

You don't have to disclose your immigration status to a reporter. If it's directly relevant to the story, a trustworthy reporter will explain that and also tell you how they'd handle the information. You can decline to answer.

• More on how LAist handles this topic

How do I determine if the newsroom I'm speaking with has a specific point of view?

It's a great question and relates directly to media literacy — meaning how well you can spot misinformation, disinformation and bias. The reality is that we all have points of view. Here are some tools to check on where a publication falls across the political spectrum:

• FAIR's (Fairness & Accuracy In Reporting), which describes itself as a "progressive media watchdog group" has this media literacy guide.
• PEW Research Center, which describes itself as a nonprofit, nonpartisan nonadvocacy organization, has information on sources most popular with different political perspectives
• You should be able to find information on who funds the work on the site (corporations, individual owners, subscribers, members and so on).
• You can also check out this interactive chart tracking media outlets across the political spectrum (note that you may need a paid version to search smaller outlets). Ad Fontes Media, which describes itself as a "public benefit corporation" which they said means they are "a for-profit business with a stated public mission," has been publishing its analysis since 2018.

Is everything I say usable in a story?

You can come to an agreement with reporters ahead of the conversation about how your words can be used:

• “On the record”: This means that everything you say in your conversation with the journalist can be quoted, published and attributed back to you. By default, you should assume any exchange you have with a journalist is on the record unless you mutually agree otherwise. 
• “On background”: This means that you are sharing information with a journalist that can be referenced in a story, but is not directly attributed to you. 
• “Off the record”: This means that you are sharing information that is not for publication. People may share experiences or tips off the record if they want the journalist to be aware of the information but don’t want it mentioned in a story. Remember that “off the record” only counts if both you and the journalist agree to it. 

It's worth noting that different newsrooms may use these terms slightly differently. You should confirm with the reporter that you have as shared understanding of the meaning.

Do I need to pay to be in a news story? Can I get paid?

No and no. You will not pay or get paid to be in a news story because this is against journalistic ethics. Anyone who receives payment for a story could be swayed to bend the truth.

What if the reporter gets my story wrong?

If you feel that the reporter misrepresented your story, you can ask for a correction or an update to clarify a point. Reporters want to get the story right and they don't want to incorrect or misleading information to go unchecked. That said, corrections deal with information that is factually incorrect, so you should be ready to explain what was wrong and why. Under California law, you have 20 days to demand a correction and the publisher has to respond within a set period of time.

• More on California civil defamation claims and the definition of defamation.

How can I prepare for an interview?

Think about the main points you want to get across in your interview. What are the most critical things for the reporter to know? Some people like to organize their thoughts into three major points. If you are not used to telling your story, you may want to have a friend ask you some questions to practice. Depending on the story, a reporter may also ask if you have any pictures to share that they can use to help tell the story.

Get involved with LAist

Ask LAist reporters questions

You can reach out to LAist reporters through the contact information listed on their bios. All our editorial staff, including the teams reporting, editing and producing news, are listed here.

How else you can be a part of LAist's reporting

Aside from contacting journalists directly, you can share your story with LAist through short surveys and meeting us in person. Learn more here.

This guide was originally written by former LAist early childhood producer Stefanie Ritoper, with contributions from Mariana Dale. Cato Hernández and David Rodriguez also contributed to this guide. 

File this under things that could only happen in L.A.

Paradise Dynasty, the Singapore-based chain known for its signature eight-flavor xiao long bao, has teamed up with Burritos La Palma — the SoCal burrito institution whose birria de res recipe traces back over 45 years — to create a limited-edition birria soup dumpling. The Birria XLB will be available starting Monday (May 11) for a limited time at Paradise Dynasty locations.

I've eaten my weight in both soup dumplings and burritos, so naturally, I'm a fan of both.

Paradise Dynasty has been on a steady ascent as a major player in L.A.'s dumpling scene, with locations at South Coast Plaza in Costa Mesa and The Americana at Brand in Glendale.

Meanwhile, Burritos La Palma — known for its simple, savory burritos and finely crafted flour tortillas — has been capturing hearts and stomachs since Alberto Bañuelos opened the first eatery in L.A. in 2012. It’s since grown to several spots across L.A. and Orange County, earning a Michelin Bib Gourmand award in 2024 for its high-quality, Zacatecan-style handmade flour tortilla burritos at an affordable price.

How the collab came together

So what exactly is a birria soup dumpling? A delicate wrapper, lightly packed with tender birria de res — slow-braised beef stewed in chilies and spices — juicy, savory and gone in one bite.

It all began with a call from Paradise Dynasty, when Jason Kuo, district manager for Paradise Dynasty USA, reached out to Bañuelos, calling it, simply, a perfect match between the two dishes.

Kuo said the idea came straight from the community.

"When we started asking guests and people around us what flavor they would want to see in a soup dumpling, birria kept coming up again and again — it was very clear. If we're going to do birria, it has to be done right. Burritos La Palma was the first name that came to mind."

Bañuelos was "beyond thrilled" to have been approached.

"We come from a small town in Mexico, and to be able to elevate to the level of Paradise Dynasty and that culinary perfection, I can't even really put it into words," he said.

It took months of R&D to get the right consistency. Bañuelos said the process required dialing down the moisture and upping the spice potency and landed on serving a fresh red salsa with thin slivers of serrano peppers alongside — a riff on the black vinegar and pickled ginger traditionally served with soup dumplings.

The Birria XLB's juicy interior is part of what makes it work — the dish is served with a fresh, tomato-based salsa and slivers of serrano pepper in place of the traditional black vinegar and pickled ginger.

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How it tastes

I got a chance to try the dumplings ahead of the public launch and was struck by how well the combination worked. The juicy nature of birria is almost turbocharged in dumpling form, its savory, herbaceous flavors fully encapsulated in the thin skin, creating an exceptional texture in every bite. The dish hits even harder when dipped in the light tomato-based salsa — a rush of freshness that cuts through the richness, with a spike of heat from fresh serrano. (Feel free to skip the peppers if spice isn't your thing.)

But what's most impressive is how organic it all feels. This isn't fusion for fusion's sake — it's a natural meeting of two dishes that are deeply embedded in the Southern California diet, each playing to the other's strengths.

It feels like a logical meeting of the minds — birria and soup dumplings have both been part of L.A.'s culinary zeitgeist for the better part of a decade, and it makes sense that these worlds should collide.

When asked whether a collaboration like this could happen anywhere else, Bañuelos was quick: "It has to start in L.A. You just can't compete."

Where to try it

Nine Democratic House members from California are demanding information about how the Trump administration is treating unaccompanied migrant children who are pregnant and in federal custody. They’ve signed a letter, along with 39 other House Democrats, to Trump officials expressing their concern that the girls are not receiving adequate medical care or access to abortion.

The letter comes in the wake of an investigation by the California and Texas Newsrooms, public media collaboratives in those states. LAist is part of The California Newsroom.

The joint investigation found that the federal government is detaining pregnant migrant girls in a single group home in South Texas. Doctors and reproductive-health experts interviewed for the investigation said prenatal care is severely limited in that region.

The letter says the detention violates federal regulations because the children are “entitled to the full range of medical care, including reproductive health care.”

Rep. Gil Cisneros, who represents the central San Gabriel Valley, says he worries that pregnant migrants who are apprehended in California will be put at risk if they’re sent to a part of Texas that is short on obstetric care. Of particularly concern: High-risk pregnancies are common among minors.

“If they were in California," he said, "they would be able to have more choices of the type of health care that they would get when it comes to reproductive health care.”

Rep. Judy Chu, who represents the West San Gabriel Valley, wrote in a statement that “this administration is so intent on restricting abortion that it is using immigration detention as a tool to control these girls’ bodies.”

Mark Betancourt is a regular contributor to The California Newsroom. 

The U.S. Department of Education is investigating how the Los Angeles Unified School District responds to educators accused of sexual misconduct with students.

The department accuses the district of maintaining a policy that “automatically” reassigns teachers to other schools when they are accused of sexual misconduct with students and cites a 2024 agreement with the teachers union.

A Los Angeles Unified spokesperson wrote in a statement that it’s “not true” that staff being investigated for sexual misconduct are reassigned to other school sites.

“‘Reassignment’ typically means an employee is directed to remain at home and away from students and schools during an investigation,” the spokesperson wrote.

United Teachers Los Angeles called the DOE's accusations a “fundamental misunderstanding” of the district’s reassignment policy.

“[Employees] are not reassigned to another classroom or to any other setting where they would interact with students,” read a statement provided by the union. “This policy protects both students and staff and creates conditions for a thorough and appropriate investigation of allegations.”

What to expect from the federal investigation

The federal investigation, overseen by the department’s Office for Civil Rights, will assess whether the district’s policy violates Title IX, a law that prohibits sex-based discrimination in federally funded education programs.

Kimberly Richey, the assistant secretary for civil rights, wrote in a statement that Title IX requires schools to address claims of sexual misconduct in a “timely manner.”

“It is unconscionable that the district would simply ignore Title IX’s procedural requirements to protect teachers who cause life-changing harm to their kids,” Richey wrote. “The Trump administration will always fight to uphold the law, protect the safety of all students and restore common sense to our schools.”

The Trump administration also has recently targeted LAUSD's desegregation policy and transgender student protections.

Last year, the office failed to resolve any cases related to sexual harassment, sexual violence or racial harassment, according to a report released by Sen. Bernie Sanders in late April. Sanders is the top-ranking Democrat on the Senate Education Committee.

In March 2025, the Trump administration pushed to cut over half of OCR’s nearly 600 staff members, which contributed to a growing backlog of cases. Those employees were placed on administrative leave pending the result of legal challenges, and many were later brought back.

The Education Department has also withheld records related to civil rights investigations, prompting a lawsuit from investigative nonprofit newsroom ProPublica.

What does LAUSD’s policy say? 

LAUSD protocol related to employee misconduct says administrators must remove accused employees from their classroom or worksite whenever there is a risk to the safety of students or staff.

The 110-page protocol document also lists several other requirements for allegations related to sexual misconduct, including contacting law enforcement and the agencies that license teachers.

“Los Angeles Unified takes all allegations of sexual misconduct and harassment with the utmost seriousness,” a spokesperson wrote in a statement. “Our primary responsibility is to ensure the safety, dignity and well-being of every student and staff member in our care.” The statement also said the district follows Title IX procedures and continuously reviews its policies, training and reporting systems.

The UTLA settlement outlines several circumstances where an employee can be reassigned, including a law enforcement investigation of misconduct, sexual harassment of a student, behavior toward a student perceived to be motivated by a sexual interest and communicating with a student for non-school-related purposes.

School employees are “mandated reporters” who must, by law, notify local law enforcement or child welfare agencies of suspected child abuse or neglect. California Attorney General Rob Bonta reminded K-12 school district leaders in late April of their legal obligation to prevent sexual misconduct and protect students.

How prevalent is sexual misconduct in California schools?

There have been few comprehensive studies of sexual misconduct in schools. A 2004 report to the Department of Education estimated 1-in-10 students experiences sexual misconduct, ranging from inappropriate comments to physical abuse.

A new California law requires schools to train students and staff to recognize and report misconduct and write new policies on “appropriate behavior.” It also will create a new database of educators credibly accused of abuse.

More than 1,000 lawsuits related to sexual abuse that date to the 1940s have been filed against California school districts since the enactment of a 2019 law that gave victims a three-year window to sue.

LAUSD has authorized $750 million in bonds to pay for sexual misconduct settlements related to suits stemming from the law.