The Brief

Many who visit Inglewood might only get a snapshot of the city. Maybe they caught a show at the Kia Forum (formally the Great Western) such as Prince’s legendary 30-day residence there in 2011 or took in a Rams game at nearby SoFi Stadium. But what if between spectator events and the occasional stop at Randy’s Donuts, you had no other exposure to the Wood?

That’d be a shame because the city has an enviable cultural legacy that spans the Showtime Lakers-era decades ago to its present-day status as a hub for young creatives as captured on the HBO series Insecure (The Dunes apartment, never forget):

This rich and plentiful history in a city where Black and Latino residents combined make up nearly 90% of the population is actualized in a food scene with different culinary flourishes.

This is Cheap Fast Eats Inglewood.

Wings 2 Go

Customers order inside Wings2go in Inglewood.

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We can’t take full credit for this find. That honor goes to former contributor Cesar Hernandez, who’s currently working as the assistant restaurant critic for the San Francisco Chronicle. While we miss Cesar's contributions, we thought what better way to honor him than to do a callback on one of our favorite picks of his.

What is it about the concept of a wing shop in L.A. that keeps it from carrying the same culinary importance as it does in other cities like Atlanta?

Wings 2 Go is a small but mighty wing shop that sits in a tiny strip mall along Crenshaw Boulevard, attracting wings fanatics from far and wide looking to get a fiery bite. The menu at Wings isn’t huge by most standards but it still manages to pack a punch when it comes to offering a variety of tastes and flavors. Opt for the six-piece ATL Special (hot with lemon pepper seasoning). We’ve developed a taste for lemon pepper-style wings since we heard about them from Donald Glover’s television series Atlanta. If you don’t know what I’m talking about, Google it.

Upon the first transformative bite of a wing, suddenly you’re Jordan after clinching his first NBA finals win in 1991, celebrating in ecstasy. The sticky, crunch-fried wing is drenched in the perfect amount of sauce and then sprinkled with galactic bits of salty-citrusy lemon pepper seasoning that will leave your lips tingling. If you’re looking to broaden your flavor horizons, there’s also a jerk BBQ, aji verde, and Cajun rub as sauce selections.

Whichever fiery selections you choose, wash it down with lemonade or sweet tea, or go for a hole-in-one with an Arnold Palmer to quench your thirst, as you’ll no doubt need it.

Wings 2 Go sits in a strip mall in Inglewood.

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Country Style Jamaican Restaurant

The goat curry at Country Style Jamaican Restaurant falls off the bone.

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Our love for Jamaican-style take-out restaurants is well documented, so it’s not surprising we have had a well-established place in our heart for a while now for the casual walk-up counter-establishment.

The welcoming and joyous atmosphere is infectious as you enter the walk-up counter inside. The walls are painted the same dark green of the Jamaican flag. Images of Black luminaries are featured next to maxims extolling a virtue-filled life.

To get the most meal for your buck, we recommend going with any one of the mini plate options. Our personal favorite is the curried goat. Stewed bone-in pieces of goat have been cooked in a dark yellow curry full of aromatic spices. The chunks of meat are spicy, juicy and fatty and fall off the bone onto a bed of rice and beans that’s also saturated in the curry flavoring.

Aromas hit you as soon as you enter Country Style Jamaican Restaurant.

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Carnitas El Artista

Carnitas El Artista uses nearly every part of the pig to make savory carnitas.

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While it might be easy to pledge one’s allegiance to the culinary wonder that is carnitas, how often do you take it upon yourself to dive deep into the different parts of the pig? Each contains its own unique textures that manage to delight with every helping.

Carnitas El Artista is where such dreams can come true as a result of the hard work of owner Gustavo Chavez and his family. The name El Artista came from Chavez’s grandfather who used to take the bus from Wilmington to visit the restaurant. The elder Chavez would be surprised when everyone around town knew his grandson and would joke that the younger Chavez was "El Artista” — or movie star.

Chavez and his family originate from Michoacán, the Mexican state known as the birthplace of carnitas, which are traditionally cooked in large copper pots called cazos.

Carnitas El Artista got its origins as a backyard business.

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Carnitas El Artista sells their offerings by the pound with the choice of different parts that include carnitas (pork shoulder), costillas (ribs), lengua (tongue), buche (stomach), cueritos (skin) or a mix of everything.

Chavez and his wife started their business in 2015 selling by the pound out of their backyard in nearby Hawthorne before moving into street vending and finally opening their restaurant in 2019.

While carnitas by the pound is a very good deal at $15 to $16, if you are looking to feed an army of family members on a Sunday afternoon, it might be a lot for a casual stop.

Tacos de carnitas are the best option in that case. Opt for the mix containing all the different parts of the pork. That manages to pack all the flavor and texture of each aspect of the protein, providing for an extremely nuanced bite containing equal amounts of the sticky, fatty and chewy all combined. Serve the meat on a fresh tortilla with crisp-tasting salsa topped with thin shards of red onion for the proper amount of acidity that cuts the richness of the pork. It’s a showtime taco for the masses if there ever was one.

Carnitas El Artista's owner Gustavo Chavez and his son, Kevin (left).

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Woody’s Bar-B-Que

The "Inflation Fighter" (3x) lunch special at Woody’s Bar-B-Que.

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If you’ve spent any time in Inglewood, there’s a good chance you’ve seen the Woody’s Bar-B-Que location on Market Street. It's not uncommon for lines to wrap around the small business, spilling out into the moderately sized parking lot.

It’s never not a joyous occasion at Woody’s as you wait in line to place your order at the walk-up window where speakers overhead play booming deep cuts from 80’s and 90’s R&B or Madlib’s Shades of Blue, helping set the mood.

Our favorite aspect of Woody’s is their lunch special menu which feels like you are going back in time to when the restaurant opened in 1975. Items such as Inflation Fighter (Pork Rib Tips & 1/2 Chicken Link), Business Man’s Lunch (2 Ribs & 1/2 Chicken Link), and Lady’s Lunch (Chopped Beef & 1 Chicken Link) are a few of the standouts on the menu. All cost $8.95 (tax and tip excluded). With each dish, diners have their choice of signature sauce (mild, hot, or mixed) that resembles a BBQ sauce but somehow manages to feel more special because it’s homemade.

All plates come in a brown paper bag, giving the vibe of the school lunch that your mom used to pack. Along with the small entree, you’ll be served two slices of white bread packaged neatly in a small plastic bag and a small container of a side of your choice. Have your pick of potato salad, mac and cheese, macaroni salad, baked beans or cole slaw.

Patrons wait for their food outside of Woody’s Bar-B-Que.

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El Capitalino

Quesadilla fritas from El Capitalino MX food truck.

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If you ask anyone who grew up in a Latino household or in anyplace where tortillas are readily available, the quesadilla holds a special place in their hearts. An easy after-school snack or — maybe with the addition of meat and/or avocado — a filling lunch. Either properly crisped over a hot comal from the stove or microwaved for a short period of time, you can’t get a more homey feel than melted cheese between a flour tortilla.

An aside: what if the quesadillas from your youth were, in fact, a gateway into a large quesadilla universe that’s actually larger than what you might have originally considered? El Capitalino achieves just that. Owner Ivan Gomez, who also owns Birreira Gomez (a fleet of trucks specializing in birria de res, found throughout South Bay and the Westside), was inspired by how he saw quesadillas prepared during a trip to Mexico City and also by his mother and grandmother who grew up making the meal.

Each of the thick corn tortillas is made by hand, usually by Ivan’s mom, Norma Ramirez. She takes the raw masa and forms it into a flat disk, then stuffs it with cheese. The tortilla is then folded and fried in oil.

After it’s done cooking, the quesadilla is removed, pulled apart and packed with a filling of your choice, which could be chicken tinga, hongos (mushrooms), rajas con queso (roasted roasted poblano peppers with cheese), carne asada or chicharron prensado. Then it’s fried with salsa made from Guajillo chili and stuffed with lettuce and cream. No matter what the filling is, you'll get a unique griddled cheesiness accented by expertly-flavored fillings that make for one of the best-tasting quesadillas that we’ve ever experienced.

Norma Ramirez presses masa into a quesadilla inside of the El Capitalino MX food truck.

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An exhibition that takes visitors through the magical water worlds of the 2008 film Ponyo and the hand-drawn artistry of Studio Ghibli is now open at the Academy Museum of Motion Pictures.

The films from the Japanese animation studio and director Hayao Miyazaki have captivated imaginations around the world for decades — this reporter with my four tattoos of favorite Studio Ghibli characters included.

This is now the second time the Miracle Mile museum has dedicated an exhibition to Miyazaki’s works, with the focus on Ponyo arriving more than four years after the retrospective of all his animated feature films.

“These drawings have never been shown outside of Japan,” Shraddha Aryal, the museum’s executive vice president of exhibitions, told LAist. “We have an amazing conservation team who actually cell by cell took care of these, conserved these and that was what led us to say let’s do another exhibition really highlighting their artwork.”

The exhibition includes more than 100 items from Studio Ghibli, including animation cells from Ponyo.

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The cult of Studio Ghibli

Since Studio Ghibli’s founding in 1985, the animation powerhouse has created more than 20 feature films, including My Neighbor Totoro, Kiki’s Delivery Service and most recently The Boy and the Heron, steadily gaining international acclaim.

Its Spirited Away is among the most celebrated animated movies of all time, becoming Japan’s highest-grossing film and holding that record for 19 years. It was also the first hand-drawn film to win the Oscar for Best Animated Feature in 2003.

The studio and Miyazaki would achieve the same feat again two decades later with The Boy and the Heron in 2024.

Studio Ghibli’s films are often fantastical with a lens of childlike wonder, but they also touch on difficult topics like the horrors of war, fascism, greed and environmental destruction. Characters are complex, with women and girls regularly in strong roles, such as the spear-wielding San or the brave but stubborn Kiki.

For me, there’s something about the carefully crafted storylines and colorful style that still make me feel like I’m exploring the forest with Princess Mononoke or stuck in a secret world of sorcery with Spirited Away, even as an adult.

Miyazaki's magical world

Ponyo is one of Miyazaki’s most kid friendly films — with positive themes of courage and curiosity as the audience tags along with the adventures of the young main characters. Plus, there’s no unnerving scenes of parents being turned into pigs like in Spirited Away (if you know you know).

The 2008 film tells the story of its namesake, the magical goldfish-like creature, Ponyo, and her budding friendship with a 5-year-old human boy named Sōsuke. The film follows Ponyo’s desire to leave her underwater world and become a human to be with Sōsuke, disrupting the balance of nature and having to contend with challenges like a tsunami along the way.

The exhibit creates a 3D version of the filmic world where visitors can climb inside an interactive version of Sōsuke’s green bucket or walk on wave displays like Ponyo in the tsunami.

“Ponyo exhibition is all about this character’s perseverance, and the joyful nature and triumph through ups and downs, [being] willing to explore a new world,” Aryal said. “And it's such a beautiful love story about friendship.”

Reimagining Ponyo

The exhibition includes rare Studio Ghibli donations on display in North America for the first time ever, such as original Miyazaki drawings and Ponyo animation cells, according to the Academy Museum. Guests can explore more than 100 items hand-picked by the studio, including an original animation desk and a make-your-own stop-motion station.

The experience is designed for all ages, reporter superfans with several tattoos of Studio Ghibli characters included.

But Jessica Niebel, the museum’s senior exhibitions curator, told LAist she hopes the Ponyo exhibition helps children feel inspired by the "beautiful messages” of the movie, especially after last year’s L.A. fires and the COVID pandemic.

“Sometimes you live through times where you have a tsunami, where you lose your magic or your mojo, you know, you're not quite sure of your identity,” she said. “[Miyazaki] gives us hope and courage that we can be free and run on the waves like Ponyo.”

“And instead of seeing things as a threat, maybe we use them to carry us,” she continued.

Dipping into the 3-D world

The exhibition is split into four sections focused on different aspects of the film.

The first dives inside Ponyo’s magical underwater home, introducing some main characters with a scene played on a screen spanning nearly the entire room.

The Ponyo exhibition takes visitors inside the 2008 film's magical water worlds.

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The first section includes Ponyo's goddess mother.

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A portrait of Ponyo’s goddess mother, Granmamare, is set up behind a few bean bag chairs in the space, giving guests the sense she’s watching the sea creatures over your shoulder.

The second section centers on Ponyo leaving her home, following her curiosity to dry land where she meets Sōsuke.

The room intentionally reflects the green and blue tones of the film, with curved designs and an interactive bucket that mirrors Miyazaki’s spirit, according to Aryal.

The second section includes the original Japanese release posters from Studio Ghibli’s other famed films, including Princess Mononoke, Spirited Away, Howl’s Moving Castle and The Wind Rises.

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The walls are lined with the original Japanese release posters from Studio Ghibli’s other famed films, including Howl’s Moving Castle, Porco Rosso and The Wind Rises.

The third section takes you inside “the animators’ imaginative world,” Niebel said. The centerpiece is an original animation desk donated by Studio Ghibli and surrounded by Miyazaki’s detailed drawings for Ponyo.

The exhibition includes rare materials, such as a Studio Ghibli animation desk with drawing supplies.

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Stations are set up where guests can make their own stop motion animation using sea creature cut-outs.

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Two stations are set-up on the side where guests can create their own stop motion animation scene using some of the sea creature cut-out materials sent by the studio, according to Arturo Arias, an Academy Museum educator and gallery attendant.

“It's really nice to have the sort of underwater theme happening and so people submerge — no pun intended — into it and just kind of play along,” Arias told LAist.

The final section focuses on the scene where Ponyo runs on waves instead of being swallowed by the water.

“That's a moment that's really close to my heart and I think it's sensational and only [something] Hayao Miyazaki could do,” Neibel said. “[Ponyo]'s just so joyful and so free.”

Painted waves cascade on the exhibition walls as a bright Ponyo pokes out, with behind-the-scenes clips showcased on the side.

The film follows Ponyo’s desire to leave her underwater world and become a human disrupting the balance of nature with a tsunami along the way.

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Behind the scenes clips from the making on Ponyo were showcased on the side in the last section of the exhibition.

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The movie may be nearly 20-years-old, but Aryal said the hopeful messages of Ponyo are still “really relevant” in the current world and political climate.

“It kind of becomes a refuge, if I may say that, this joyful refuge,” she said. “There is an option for you, even in this sort of disruptive climate that we're living in right now, that you can come and go through this joyful immersive experience.”

Details

The Academy Museum’s “Studio Ghibli’s PONYO” exhibition is open until Jan. 10, 2027. General admission to the museum is free for children and $25 for adults.

As the region’s lead homelessness agency, the main job of the Los Angeles Homeless Services Authority this year was to dole out nearly $700 million to contractors who operate shelters and other services for unhoused people.

But it turns out that more than halfway through the budget year, many of LAHSA’s 116 service providers are still waiting for LAHSA to pay them for those services. In all, the agency told LAist that it owes at least $69 million in outstanding invoices to providers. About 40% of those invoices are more than two months old.

Those delayed payments are causing cash flow problems for organizations large and small. Several providers told LAist that they've have had to dip into reserves or take on debt.

“These delays are one of the biggest issues for our organization because if we cannot pay our staff, we don't operate,” said Stephanie Klasky-Gamer, CEO of the nonprofit LA Family Housing. "That breaks the entire system and renders people homeless.”

Where things stand

LAHSA officials have said they're working to fix delays and make internal changes so that they don’t happen again.

And they offered details on how they got here:

• They said some payments were delayed because the agency is struggling to process an influx of recently submitted invoices.
• Other payments are delayed because the agency is still waiting for millions in payments, mostly from the city of L.A.

“While a combination of contracting delays, outdated internal policies, and a leadership vacuum caused by the historic funding shifts happening within the rehousing system all contributed to this bottleneck, we are already taking corrective action,” Ahmad Chapman, a LAHSA spokesperson, said in a statement.

At a LAHSA Finance Committee meeting Friday, Janine Lim, the agency's deputy chief financial office, broke down the issues based on agency.

• Under contracts funded by city, the agency doesn’t have some of the money it owes providers, Lim said.
• For county-funded contracts, LAHSA has the funds, but has failed to pass some of them to providers, she said.

Lim acknowledged her department failed to request certain county funds and told commissioners her team is overwhelmed by staff turnover and nonstop crisis management.

Lindsey Horvath's rebuke

The meeting prompted a harsh rebuke from L.A. County Supervisor Lindsey Horvath Friday night, who issued a statement demanding a public hearing about LAHSA’s late payments, a forensic audit and immediate payment of all outstanding invoices to county-funded contractors.

“If LAHSA were a publicly traded company, regulators would shut them down.” Horvath said, in a statement “LAHSA balance sheets don’t balance, and they fail to provide real-time financial information to their very own commissioners.”

LAHSA’s funding sources

LAHSA has an approved budget of about $828 million this fiscal year. Most of that money — $697 million — comes from a variety of government sources and passes along to contracted service providers.

This budget year it breaks down like this, according to LAHSA records:

• 46% from L.A. County
• 35% from the city of Los Angeles
• Nearly 11% from the federal government
• More than 8% from the state of California
• A small fraction from private philanthropy,

LAHSA representatives said the delayed payments stem partly from delays in finalizing contracts with homeless service providers this fiscal year, which started July 1.

By that time, the agency had only finalized about one third of its contracts with providers. Providers can’t file invoices until those contracts are final.

Now, eight months into the budget year, LAHSA said more than 99% of contracts are in place. But many weren’t finalized until December. Now that contracts are executed, there’s an “avalanche” of recent invoices from providers, covering the past six months, according to LAHSA officials.

Challenges for providers 

South L.A homeless services provider HOPICS said LAHSA owed it nearly $20 million as of last month, because of late contract executions and delayed payments across two budget years.

“Providers cannot continue operating on uncertainty and IOUs,” the Kelvin Driscoll, the nonprofit's director, told LAist. “To keep services operating, we, like other organizations, have had to exhaust reserves and take on debt.”

Some homeless services providers said late payments have been a problem, but not an insurmountable one.

“The issue of floating unpaid invoices is part of business, especially if we're working with bureaucracy and government.” said Rowan Vansleve, president of Hope The Mission. “Anybody who's taken a contract with the government is not expecting to be paid incredibly quickly.”

Still, as the size of L.A.’s homeless services sector has grown, some service providers say they are being asked to take on larger financial burdens. LA Family Housing is waiting on both reimbursement payments and advances for recent months, its CEO said.

“Our contract is with LAHSA,” said Klasky-Gamer. “We are delivering on our end of the contract by delivering the service. They're not able to deliver on their end of the contract because they don't have access to the money to pay us.”

At the Friday meeting, LAHSA Commissioner Amy Perkins said she had received “countless” calls from leaders of large providers who are considering closing down.

“They don’t want to say that publicly because they don’t want to scare their staff and they will do everything they can not to close,” Perkins said. “They have maxed out their lines of credit. There's no more rocks to turn over. Vendors are walking off jobs.”

Commissioners demands answers

Last year, L.A. County supervisors voted to strip LAHSA of about $300 million in county funding from LAHSA, beginning this July. Until then, county homelessness funding still goes through LAHSA.

Perkins, appointed to the LAHSA Commission by Horvath, told LAHSA officials on Friday that the payment crisis shows why the county's move was necessary.

"This is exactly why we have said for a long time that the structure of LAHSA doesn't work,” Perkins said. “How are you supposed to administer funding for people who won't pay you?”

Justin Szlasa, another LAHSA Commission member said he has frequently heard service providers complain that LAHSA pays them late.

Szlasa said he asked for an itemized summary of all of LAHSA’s unpaid bills. The report should have been easy to generate immediately, Szlasa said.

Months later, LAHSA still has not produced the document, he said. This month, he filed a public records request for that information, including which contractors LAHSA owes money to and how behind on payments it is.

“We as commissioners don’t have visibility into how we’re doing if we don’t know how much money we owe and how late we are with payments to these service providers on the front lines of our homelessness response,” Szlasa said.

LAHSA officials said the agency will work with outside consultants to update the agency’s finance operations to ensure providers are paid accurately and on time.

The Southern California Muslim community during the early to mid-20th century became more diverse, but the visibility of Muslims in SoCal didn’t significantly increase until the creation of new Islamic institutions and hubs like the Islamic Society of Orange County.

Community pillars like the Islamic Society of Orange County (ISOC), located in Garden Grove, allow Muslims in Southern Calfironia to connect with their faith and explore their religious identities in a rapidly changing society.

With the holy month of Ramadan underway, the Islamic Society of Orange County is celebrating its 50th anniversary this year.

Muzammil Sidiqqi, director and Islamic scholar for ISOC, who has served the community since 1981, recently joined LAist’s daily news program AirTalk with Larry Mantle, along with Deana Helmy, chair of the Islamic Shura Council of Southern California, to talk about the community center’s impact on the region over the past five decades.

How ISOC got its start

Muslims began arriving in Southern California as early as the 20th century, with roots primarily from South Asian Punjabi descent and the Middle East.

“It was a small number,” said Sidiqqi. “They started gathering at religious services and learning about the Quran within their families.”

As numbers continued to increase, particularly after the Civil Rights Act of 1964, Muslims in Southern California formed the basis of the ISOC, and in 1976, it became the first mosque in Orange County.

The Islamic Society of Orange county serves thousands of Muslims with prayer, educational, and counseling services, including a youth group.

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“At the time, when the community bought this place, they thought it was too big for them,” said Sidiqqi, adding, “Soon a large number of people started coming, and we had to buy neighboring properties.”

Today, the SoCal muslim community is diverse, as people from the Middle East, India, Pakistan, Bangladesh, Southeast Asia, Latin America and descendants from Europe attend ISOC and share it as a community space.

“The Mother Mosque”

The Islamic Society of Orange County has grown to become the largest Muslim community center in Southern California, serving more than 10,000 followers throughout the area.

“That’s why we call it the mother mosque,” Sidiqqi said.

The mosque is more than just a place for worship for Muslims in SoCal; it's a community center.

“I actually attended the elementary school at ISOC called Orange Crescent School,” Helmy said.

Orange Crescent School is located within the Islamic Society of Orange County Masjid premises in Garden Grove. It currently offers full-time schooling from preschool to 8th grade, and intends to expand its reach and become the first Islamic High School in Orange County.

Children's backpacks hang outside of a classroom at the Orange Crescent School located on the grounds of the Garden Grove mosque.

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“All subjects that are taught in other schools are taught here. Aside from that, they learn the Arabic language and Islamic studies,” Sidiqqi said. “We emphasize very much the moral character of our students, according to Islamic traditions.”

AirTalk listeners also weighed in and shared the role ISOC plays in their lives.

Adis in the city of Orange told Larry, “My dad was the first president of the youth group organized in the masjid, and my mom was very involved in organizing as well,” adding, “that was the first place where they met, and it was history from there.”

“I just go to hang out with my daughter sometimes over the weekend,” said LAist reporter Yusra Farzan, adding, “They have cool Friday night programs for kids.”

Equality, leadership, and interfaith outreach

In addition to making inroads with the Muslim society-at-large, ISOC has also played a crucial role in acknowledging the need for women's representation in its organization.

“Leadership at the masjid has always elevated and highlighted women,” said Helmy, adding that ISOC has “really ensured that women have the space and place to belong, to be able to speak up and to be encouraged to take on leadership roles.”

ISOC offers a variety of services and programs that aim to educate people about Islam and debunk misconceptions and myths about the faith. Sidiqqi recalled being in the nation’s capital the day of the 9/11 attacks, telling Mantle that he was actually invited by President George W. Bush to participate in the interfaith service that was held at the Washington National Cathedral.

“This has been our work at the ISOC. Bringing understanding, reconciliation, peace, and harmony,” he said. “These have been the teachings of Islam, and so we invite people to come learn about the faith.”

You can listen to the full AirTalk SoCal History segment here.

President Donald Trump called the Supreme Court's decision against his sweeping use of tariffs "deeply disappointing" and slammed the members of the court who ruled against him.

Trump called the justices who opposed his tariffs "fools" and "lapdogs," charging that they were acting because of liberal partisanship, though three of those ruling against him were appointed by Republican presidents and two were Trump appointees.

"I think it is deeply disappointing, and I'm ashamed of certain members of the court, absolutely ashamed for not having the courage to do what's right for our country," he said.

The court — in a 6 to 3 decision —found that a law known as the International Emergency Economic Powers Act does not authorize the president to impose tariffs.

The ruling was the president's most significant defeat at the Supreme Court since he returned to office, and threatens to upend one of Trump's favorite and most powerful tools of his economic and foreign policy agenda.

The decision injects even more uncertainty into the future of tariffs, but Trump made clear that he has no plans on giving up on his agenda.

Calling it his "favorite word in the dictionary," Trump has repeatedly credited his use of tariffs with helping him stop wars and pressure world leaders to bend to U.S. interests.

He boasted about the economic benefits. A recent Congressional Budget Office report found that tariffs were expected to help reduce the deficits by about $3 trillion over a decade. But that same report found that U.S. consumers - not foreign companies - were paying the vast majority of that money.

But while talking with reporters Friday, Trump sought to put a positive spin on the court decision. He said that it would provide certainty for the U.S. economy and that he plans to seek alternatives, which he laid out specifically.

"Their decision's incorrect. But it doesn't matter, because we have very powerful alternatives that have been approved by this decision," he said.

Trump cited a dissent written by Justice Brett Kavanaugh who listed laws that the administration could pursue, including "the Trade Act of 1974 sections 122, 201, 301, and the Tariff Act of 1930 section 338."

He acknowledged that those processes may be more cumbersome, but had stronger legal standing. He also cited Section 122 of the Trade Act of 1974, that allows the president to impose tariffs to address trade deficits. But those tariffs are limited to 15%, and only for 150 days, after which Congress would have to approve them.

"While I am sure that they did not mean to do so, the Supreme Court's decision today made the President's ability to both regulate trade and impose tariffs more powerful and more crystal clear, rather than less. I don't think they meant that. I'm sure they didn't," Trump said.

And he said he would sign an executive order today to continue certain tariffs under alternative authorities, including adding a "10% global tariff."

That rule would also eventually need approval from Congress, after 150 days, which could be difficult with an election approaching.

Republicans are facing pressure from constituents about high costs and the business community that is afraid to invest with all the economic uncertainty.

A recent NPR/Marist poll finds that a majority of Americans — 56% — feel tariffs or fees on imported products from other countries hurts the U.S. economy.

The former Senate majority leader, Sen. Mitch McConnell praised the Supreme Court's decision.

"Congress' role in trade policy, as I have warned repeatedly, is not an inconvenience to avoid," the Kentucky Republican said. "If the executive would like to enact trade policies that impact American producers and consumers, its path forward is crystal clear: convince their representatives under Article 1" of the Constitution."

But Trump, who has expressed frustration with gridlock in Congress, expressed confidence that he would continue to be able to employ tariffs unilaterally.

"Foreign countries that have been ripping us off for years are ecstatic," Trump said. They are so happy and they're dancing in the streets. But they won't be dancing for long. That I can assure you."
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