The Brief

On a Friday afternoon on a quiet suburban block in Lakewood, the only sign that something special is happening is a small handwritten chalkboard with a small Peruvian flag and an American flag placed nearby, listing the day's specials — Papa Rellena, Aji de Pollo, Lomo Saltado. This is Lomo Fuego, a fully licensed Peruvian restaurant operating out of a family home, and it's part of a quietly growing movement reshaping how Los Angeles defines a restaurant.

The only sign you'll find outside Lomo Fuego — a handwritten chalkboard on a quiet Lakewood lawn

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Gab Chabrán

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LAist

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Since launching in January 2019, L.A. County's Microenterprise Home Kitchen Operation (MEHKO) program has issued more than 200 permits, transforming residential kitchens into licensed restaurants.

Lomo Fuego's founder is Heidi Randolph, a Peruvian immigrant and former interior designer who left her career to be closer to home. With a new mortgage and no income, she found an unlikely business partner in her brother — a trained chef who had just arrived from Peru — and an idea: turn the backyard into a restaurant. Her husband, William Armando Rios, a truck driver, had his doubts, but Randolph pushed forward anyway.

Randolph wanted to do things right, so she called the city of Lakewood. They told her it was impossible. She kept researching anyway and eventually found MEHKO.

What Is MEHKO?

MEHKO — short for Microenterprise Home Kitchen Operation — is a program administered by the L.A. County Department of Public Health that allows residents to run licensed food businesses from their primary residences. No commercial kitchen required, no landlord to answer to. Operators are capped at 30 meals a day and $100,000 in gross annual revenue — guardrails designed to keep the businesses appropriately scaled to a residential setting, but also the kind that make brick-and-mortar the natural next step for a thriving operation.

The permit process, she says, was surprisingly accessible.

Her total startup investment came in under $2,000 — a fraction of the $30,000 to $40,000 it typically costs to open even a modest commercial kitchen.

"My savings from my previous job helped me, and my husband supported me in everything — in the beginning, he was like, what are you doing? But he believed in me."

Luis, Fritz, and Heidi Randolph — the family behind Lomo Fuego in Lakewood.

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Gab Chabrán

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LAist

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Finding their footing

Starting a restaurant is never easy, especially when it’s in your backyard.

Randolph said the early days were filled with uncertainty, when she'd find herself cooking only to have nobody come, leftovers piling up, credit cards creeping toward their limits, social media posts going largely unnoticed. She pushed through anyway.

Luis, Heidi Randolph's brother and head chef, along with their mother Fritz, preps for service in the Lomo Fuego kitchen

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Gab Chabrán

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"You just have to be patient — posting on Facebook Marketplace, Instagram, TikTok. Little by little, it started getting somewhere," she said.

The turning point came from an unexpected source. Cook Alliance, a nonprofit that works alongside the county to support MEHKO operators, reached out and offered to connect Randolph with an influencer. The creator, from the account LA OC Eats, came out and shot a video.

Overnight, everything changed.

"It was a line of people outside — way outside," she said.

Neighbors, to Randolph's relief, couldn't have been more supportive.

Behind the scenes, it's a true family affair — Randolph's brother handles the bulk of the cooking while her mother, Fritz, who still works as a housekeeper at the VA on her days off, pitches in wherever she's needed. The family has since brought on additional kitchen and waitstaff to keep up with demand. It's exactly the kind of scene Randolph had always envisioned.

The Jungle, the Germans and Aji amarillo

To understand Lomo Fuego’s menu, you have to understand where Heidi Randolph comes from.

Randolph grew up in Oxapampa, a small town in Peru's high jungle — tucked into the Pasco region about five hours east of Lima, where the Andes begin their descent toward the Amazon — founded by German and Austrian immigrants in the mid-1800s. It helps explain why the menu at Lomo Fuego includes schnitzel and a plantain-based strudel alongside the lomo saltado.

Lomo Saltado Pobre at Lomo Fuego — the dish that started it all, served with rice, fries, fried plantains, and a fried egg.

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Gab Chabrán

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LAist

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Peruvian cuisine has long absorbed outside influences — Chinese laborers brought the wok and soy sauce that make lomo saltado possible, and the stir-fried noodle dish Tallarín Saltado is essentially Peru's answer to lo mein, so deeply rooted in Chinese cooking it belongs to its own culinary tradition known as Chifa.

Being the ever-curious food writer that I am, I passed on many of the well-known dishes and went straight for the daily specials, landing on the Aji de Gallina — a stewed chicken dish built around ají amarillo, the foundational "soul" of Peruvian cuisine. Alongside garlic and red onion, it forms what many cooks consider the holy trinity of Peruvian cooking. The pepper itself is deceptively complex — fruity, vibrant, and slightly sweet, with tropical notes and a moderate heat that never overwhelms. In Randolph's version, it announces itself immediately through its creamy textures, highlighted by the savoriness of the stewed chicken with chunks of boiled potatoes and white rice.

Seco de Res con Frijoles at Lomo Fuego — tender beef braised in chicha de jora and cilantro, served with canario beans and white rice.

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Gab Chabrán

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LAist

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I also tried the Seco de Res con Frijoles, which tells a different story — tender beef braised in chicha de jora, an ancient Andean corn beer once consumed ceremonially during Inca religious festivals. With a sauce built on cilantro and ají amarillo, it’s served over white rice and canario beans, a Peruvian staple prized for its creamy, buttery texture. It's a dish that wears its history openly, with Spanish, African, and Indigenous traditions folded into every bite.

Pull up a chair

One of the things I noticed about dining at Lomo Fuego was its intimacy — eating in someone's backyard has a way of softening people. I arrived right when they opened, and soon thereafter, families of all ages stopped by, along with coworkers grabbing lunch and a neighbor checking in on an upcoming catering order.

Aji de Gallina at Lomo Fuego — shredded chicken in a creamy aji amarillo sauce, topped with a hard boiled egg

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Gab Chabrán

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LAist

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"Seeing the people excited when they have that first bite — that's what motivates me every day," she said.

Outgrowing the Backyard

Lomo Fuego has grown beyond what Randolph ever imagined when she was cooking in a void in those early days. She's now pursuing a loan and scouting locations for a brick-and-mortar restaurant — the natural next step for a MEHKO kitchen that has outgrown its backyard. But she's clear about what she's taking with her.

"I hope in the future people can say, this still tastes like food from home."

A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles is officially opening this weekend.

The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

The hiking trail connects one side of Elephant Hill to the other — from the corner of Pullman Street and Harriman Avenue all the way across to Lathrop Street.

It's 0.75 miles in total, but packs a punch.

"It's a pretty straight shot, but because of the terrain — the trail is kind of twisty and curvy. There's switchbacks — and great views," Elva Yañez, board president of the nonprofit Save Elephant Hill, said.

People have always been able to access the 110-acre green space, but Yañez said the new trail provides a safe and easy way to navigate the steep hillsides.

The El Sereno nonprofit has been working for two decades to preserve the land. Illegal dumping and off-roading have damaged the open space over the years. And the majority of the 110 acres are privately owned by an estimated 200 individual owners.

Mountains Recreation and Conservation Authority (MRCA) joined the efforts in 2018, spurred by a $700,000 grant from Los Angeles County Regional Park and Open Space District, in part, to build the trail. The local agency received some $2 million in grants from the Santa Monica Mountains Conservancy to add to the 10 acres of Elephant Hill it manages and conserves. This year, MCRA acquired an additional 12 parcels — or about 2.4 acres.

And the spiffy new footpath — with trail signage, information kiosks and landscape boulders — is not just a long-sought-for victory but a beginning in a sense.

"We know that it means a lot to the community," Sarah Kevorkian, who oversees the trail project for MRCA, said. "We're wrapping up the trail, but it really feels like the beginning of all that is to come."

A hint of that vision already exists — for hikers traversing the new route, courtesy of Test Plot, the L.A.-based nonprofit that works to revitalize depleted lands.

"They're able to see at the end of the trail, at the 'test plot' — exactly what a restored Elephant Hill would look like," Yañez said.

Here's a preview:

The Venice Boardwalk after sunset has generally been a no-go zone for tourists and locals alike, as the beachside bars and restaurants close on the early side and safety is often an issue. Now, a group of artists is out to bring some vibrancy to the creative neighborhood with a series of new installations that will include live evening performances – and even a “Venice Opera House.”

“Let's play with light and let's play with sound and give people a reason to come to the Boardwalk after sundown,” said artist and entrepreneur Stefan Ashkenazy, who is curating the project and owns the buildings housing them. “I mean, let's just be open 24 hours a day.”

The concept doesn’t have an official name yet, but he’s been calling it “See World.”

Artist James Ostrer's space looks out from a bed through the fence to the ocean at Venice Beach.

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Laura Hertzfeld

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William Attaway, a longtime Venice artist, created a gallery space filled with various paintings and sculptures.

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Laura Hertzfeld

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LAist

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The pair of modern buildings on the Venice Boardwalk at Thornton Ave. – with their big balconies, floor-to-ceiling glass windows, and seven open garage-style retail spaces – have sat mostly empty since Snapchat vacated their beachside offices in 2019. Ashkenazy recently bought the building and recruited artists to fill those front-facing spaces with creative work until a full-time tenant comes in.

Over the past several weeks the installations have been created in real-time, in public.

All of the projects are loosely along the theme of “home,” with each artist claiming a “room” in the two buildings that stretch across a full block on the Boardwalk. Several local Venice artists are featured, including William Attaway, whose intricate mosaic work is recognizable on the Venice public restrooms along the beach. Attaway’s space features a floating larger-than-life-sized statue and various works in a mini-gallery. In the next room is Robin Murez’s pieces, featuring carved wooden seats from her beloved neighborhood Venice Flying Carousel.

Ashkenazy is no stranger to wild (and wildly successful) art ideas. He’s the owner of the Petit Ermitage hotel in West Hollywood, a longtime haven for visiting artists, and the founder of the decade-old Bombay Beach Biennale, where artists install all kinds of work in an annual event near the Salton Sea. Many of the artists from that community are featured at the Venice project.

A "Venice Opera House" will host pop-up music events throughout the summer.

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Laura Hertfeldz

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LAist

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New York-based artist Greg Haberny's paintings on the wall of his Venice space.

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Laura Hertzfeld

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LAist

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New York-based artist Greg Haberny and London-based artist James Ostrer have brought some of their work in the Bombay Beach Biennale to the Venice project. Their windows on the Boardwalk both speak to a child-like sense of wonder and creativity.

“I think it's just kind of exploring and playing a little bit, to have the freedom to be able to do that,” Haberny says of his imagined child’s bedroom space, which includes a fort made out of puffy cheese balls. “It's a big space, too.
It's beautiful.”

Ostrer is experimenting with a performance art idea where he sits in bed amongst a room full of his own artwork, which he describes as “happy art with an edge.” Looking out at the ocean from the bed, he’s invited passersby to sit and have chats with him about his work or anything else they want to talk about.

“It’s a very intimate space, so you have a different kind of conversation,” he said. “I use art to channel human creativity, and [talk about] dark things.”

While there are open fences that block off the spaces, they aren’t sealed up at night. Both Ashkenazy and the team of artists seemed open to the idea that anything could happen and that the installations are a conversation with the public – and with that comes some risk.

Greg Haberny (right) works with his assistants on an installation featuring kid-inspired graffiti art and a "cheesy puff" fort.

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Laura Hertzfeld

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“I don't really know if I [would] say worried, but I guess it's just the cost of doing business,” Haberny said. “I don't really make things to get damaged or broken, sure. But I have done [things like] burned all my paintings and then made paint out of ash.”

While he’s felt safe – and even slept overnight in the installation – Ostrer has been collaborating with a local female artist who performs in a pig mask in front of his installation some nights. Watching her perform, he said, has taught him about the vulnerability of women in public spaces like the Boardwalk. “I've started to, on a very fractional level, have seen how scary that is. Because I've sat in the bed behind her performing at the front here… the way in which men are approaching her and shrieking at her … it's shocking.”

Ashkenazy says he will keep the artists in the space, potentially rotating new ones in, until a fulltime tenant takes over.

“This is an experiment … and after acquiring the building, the intention wasn't, ‘let's open a bunch of public art spaces,’ he said. “It is kind of …what the building wanted and listening to what the Boardwalk needed. Let's play, let's have the artists that we love and appreciate have a space to play and engage and give the locals and the visitors to the Boardwalk something to experience.”

A coalition of residents from across the San Gabriel Valley are mobilizing over a battery storage project and possibly more industrial development in the City of Industry they say could pollute communities next door.

A protest is scheduled today in neighboring Rowland Heights, targeting a 400-megawatt battery energy storage facility sited on about 9 acres that was approved by the City of Industry leaders in January.

Such Battery Energy Storage Systems, or BESS, are used to keep the power grid stable, especially as output from renewable energy sources like solar and wind fluctuate. But fires involving lithium batteries at some sites have heightened environmental and public health fears.

Because of the City of Industry’s unusual, sprawling shape stretching along the 60 Freeway, it borders on more than a dozen communities, meaning what happens there can have far-reaching impact.

“Pollution does not end right at the border,” said Andrew Yip, an organizer with No Data Centers SGV Coalition. “Pollution travels.”

Some local activists with the Puente Hills Community Preservation Association have challenged the approval of the battery facility under the California Environmental Quality Act.

Beyond environmental concerns, locals have also been frustrated with how decisions are made by officials in the City of Industry, a municipality that’s almost entirely zoned for industrial use and has less than 300 residents.

Organizers say they’ve struggled to get direct responses from city officials whom they say have replaced regular meetings with special meetings, which under state law require less advance notice.

A city spokesperson has not responded to requests for comment.

The so-called Marici Energy Storage System Facility would be run by Aypa Power. The fact that the battery storage developer is owned by the private equity giant Blackstone, a major investor in AI and data centers, has only fueled concerns that a battery storage facility would lay the groundwork for data center development.

A request for comment from Aypa was not returned.

Today’s protest is taking place at Peter F. Schabarum Regional Park in Rowland Heights across the street from the Puente Hills Mall, a largely vacant “dead” mall, which activists fear could be redeveloped into a data center and bring higher utility costs and greater air and noise pollution.

Yip pointed out that industrial developments make a lot of money for the City of Industry.

“But none of these surrounding communities receive any of those benefits,” Yip said. “Yet we have to put up with all the harmful effects and impacts from this city that does all this development without really reaching out.”

It’s about the size of a park bench and made of steel and wood. The bench’s arm rests are formed by the letters “L” and “A” in a design that’s unmistakable to any sports fan. But the welder-artist who created it says it’s not a Dodgers bench.

“This is about civic pride, L.A. pride. I made a design statement saying that it has nothing affiliated with the Dodgers,” said Steve Campos.

Campos grew up near Dodger Stadium, raised by parents who were die-hard Dodgers fans. So much, that they named him after Steve Garvey but that legacy doesn’t keep him from confronting how the Dodgers benefitted from the mass displacement of working-class people from Chavez Ravine after World War Two. That’s why he calls it an L.A. Bench, and not a Dodgers Bench.

The logo may be synonymous with the city's beloved baseball team, but the design of the interlocking letters was used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

“The monogram was here before the Dodgers,” Campos said.

A second-generation welder

Welding is the Campos family business. His father created gates and security bars for windows and doors for L.A. clients. That was the foundation for the work Campos has done for two decades since graduating from Lincoln High School, L.A. Trade Tech College, and enrolling in a summer program at Art Center in Pasadena.

The inspiration for the L.A. Bench came last year while he was playing around in his shop creating versions of the L.A. logo. A friend he hangs with at Echo Park Lake asked Campos to make him a piece of furniture.

“I was trying to figure out what my friend Curly wanted. He liked Dodgers and drinking and getting into fights, so I was like, 'Let me make something with the LA monogram,'” he said.

Welder-artist Steve Campos created whimsical steel sculptures with the LA logo.

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Courtesy Steve Campos

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It didn’t design itself. He said he had to lengthen the legs on the “A” and lean the back of the “L” in order to make the bench functional. In the process, he’s made a piece of furniture with a ubiquitous logo that he’s embedded with his own L.A. pride, as well as city history past and present.

LA civic pride travels to Japan

Campos vacationed in Japan the last week of April and took advantage of the trip to reach out to people who may be interested in the L.A. Bench. He was caught off guard by people’s reaction when he showed them pictures of it.

“They look at it and they go, 'Oh, Ohtani bench,'” he said.

For them, it’s still a bench embedded with pride, he said, but centered around Dodgers star Shohei Ohtani, an icon in his native Japan.

Campos has made four L.A. benches and is selling them fully assembled, he said, for $2,500 each — taking into account his labor and how costly the raw materials have become. For now, he’s offering the metal parts as a package for $500, which requires the buyer to purchase the wood for the seat and the back — an easy process, he said.

While he has no plans to mass produce the L.A. Bench, he does have one goal in mind that shows how hard it is for him to separate L.A. civic pride and the Dodgers.

“I would love to get a couple of them installed at Dodger Stadium,” he said.