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The Brief

The most important stories for you to know today
  • Over 50 traditional mezcal makers from Mexico
    A bottle is being poured into a cup. Decorative tile is on the wall

    Topline:

    Ivan Vasquez, owner and founder of Madre!, an Oaxacan restaurant with outposts across southern California, will host over 50 makers specializing in traditional mezcal from around Mexico, many of whom do not import to the United States.

    What is traditional mezcal? Mezcal can be made from over 30 different types of agave, whereas tequila can only be made from one, the blue Weber agave. It is usually made in small villages by families who have been making it for generations.

    I’m sold and have my DD; where can I get tickets? The event will be held Sept. 14 at the L.A. River Studios in Highland Park from 3 to 8 p.m. Tickets, which are $75 each, are available via Eventbrite.

    Mezcal, the once lesser-known smoky cousin of tequila, has become a new marker of urban sophistication in recent years. With that comes a more profound interest in traditional mezcal producers in Mexico, who create small-batch spirits with far more nuance than commercial manufacturers.

    Enter Mezcal Por Siempre, a first-of-its-kind mezcal festival on Saturday, Sept. 14, at L.A. River Studios in Highland Park. The event will bring together more than 50 producers from all over Mexico, many of whom will share their mezcal in the U.S. for the first time.

    The organizer is Ivan Vasquez, who owns Madre!, a Oaxacan restaurant with outposts in Torrance, Palms, West Hollywood, and Santa Clarita, where he offers an extensive mezcal and tequila collection, as well as other hard-to-find genres of spirits, such as raicilla and sotol.

    “There’s no better place to do this other than Los Angeles. It’s the heart of Mexico in the United States,” Vasquez said.

    Two men with dark skin and black hair, one sitting on a stool on the left and the other on the right, leaning against the table. On the table is a bottle containing a white label. Behind them is a large mural with people in different poses
    Ivan Vazquez (left) is hosting Mezcal Por Siempre on September 14 at L.A. River Studios in Highland Park
    (
    Jon Endow
    /
    Courtesy Mezcal Por Siempre
    )

    Vasquez grew up in Valle Central, Oaxaca, just an hour from the state capital, Oaxaca City. There, Vasquez's grandfather ran an “expando,” an informal bar space built inside their house selling mezcal, beer, and snacks to locals. He says that's where he was bit by the hospitality bug, often helping his grandfather pour shots before he could drink, igniting his passion for the spirit.

    Since opening Madre! in the mid-aughts, Vasquez has positioned himself as a steward of mezcal, coinciding with the growing interest in the beverage in the states.

    “I wanted to curate mezcal, focus on it, and talk about it because it was my passion. It was something that I grew up with, and I was very proud that mezcal was finally here,” he said.

    Expansion concerns

    In recent years, Vasquez has watched the mezcal industry expand significantly in the U.S., even outselling whisky and vodka. With that great demand, the mezcal industry, particularly in Oaxaca, has been flooded with outside foreign investment that doesn’t always have the tiny state's best interests in mind.

    A field of large blue Weber agave plants is growing closely together. The foreground is partially shaded from sunlight, while the background is bathed in soft white-yellow sunlight. In the middle, there is a thin metal pole in a diamond shape with rust-colored orange ridges on the top. In the far background, there is a small mountain range.
    A mezcalería in Oaxaca, Mexico growing blue Weber agave plants
    (
    Zyanya BMO
    /
    Unsplash
    )

    Consider the mezcal seen at local grocery and other big box stores in the U.S. It’s often made by larger commercial companies that, in an attempt to create monopolies around the product, have significantly ramped up their cultivation of agave plants, the basis of mezcal.

    That, in turn, poses severe environmental challenges. The state is already drought-prone, and the overproduction of agave plants causes soil degradation, which can seriously affect the sustainable conditions of future plants.

    Seeing these issues, Vasquez realized American consumers needed to be educated about the difference between commercial mezcal and "mezcal tradicional" — mezcal produced by traditional techniques by small makers.

    “People have been making it for hundreds of years, for many generations, five to six generations. They continue to distill it based on the tradition of the pueblo, and that's what we're trying to rescue because we want to keep the tradition alive,” Vasquez said.

    What is traditional mezcal?

    One significant distinction between traditional and commercial mezcal is the alcohol percentage. According to Vasquez, commercial mezcal has an ABV level under 44% and is usually diluted with water. Meanwhile, traditional mezcal has an ABV of 45% to 70%.

    What to expect at the festival

    • Producers (and samples) from 14 Mexican states including Oaxaca, Puebla, Guerrero, Michoacan, Jalisco, San Luis Potosi, Sonora, Chihuahua, Durango, Nuevo Leon, and Estado de Mexico y Tamaulipas.
    • Panels by mezcaleros and mezcal project founders.
    • Food for sale and an after party
    • Tickets are available for $75 and are available via Eventbrite.

    Another important distinction is the type of agave plant used. Espadín, also known as blue Weber agave, is the most commonly used agave plant in tequila and mezcal. For context, tequila can only be made from blue Weber agave; mezcal, on the other hand, can be made from 30 different species of agaves.

    Vasquez points out that a quality mezcal often comes from other agave plant varietals, including tobalá, madrecuishe, and papalometl, which are rare plant forms usually only found in remote areas with specific climates.

    Standouts at the festival will include El Tigre, made from papalote agave, known for its honeycomb flavor profile, and Lamata, produced by fermenting mezcal with pulque instead of water.

    A woman with greyish-black hair and a pale blue scarf loosely wrapped around the top of her head holds a large piece of wood attached to a stone wheel that's used to create mash in a traditional mezcal distillery in Mexico
    Maestra Bertha Vasquez, who produces Rezpiral mezcal in San Baltazar Chichicapam, Oaxaca, will be one of the artisans showcasing her mezcal at Mezcal Por Siempre.
    (
    Courtesy Mezcal Por Siempre
    )

    Struggle for recognition

    Vazquez also hopes the festival will shed some light on the struggles of smaller mezcal producers who have been fighting for recognition in recent decades.

    The Mexican government created what is known as the “denomination of origin” for mezcal in the mid-90s and made it into law in 2003. This law states that all mezcal produced can only come from Oaxaca, Guerrero, Puebla, Michoacán, Tamaulipas, Guanajuato, Zacatecas, Durango, and San Luís Potosí and must be certified by and approved by the Consejo Regulador del Mezcal (CRM). Think of it as a similar designation for Champagne in France or Parmigiano Reggiano in Italy.

    According to Vasquez, the creation of such categories erases centuries of mezcal-making traditions and limits the definition of the spirit itself. He hopes to help change the narrative with events like the Mezcal Por Siempre festival.

    “I want the next generation of young mezcaleros and mezcaleras to know there is a future for traditional mezcal in the United States," Vasquez said. "There is a light at the end of the tunnel where people can appreciate traditional mezcal. Then, that market can grow slowly by appreciating and educating them. By educating them, they'll understand it and appreciate the families behind them."

  • Questions of accuracy around Washington Post plan
    The incoming editor of <em>The Washington Post</em>, Robert Winnett, has withdrawn from the job and will remain in the U.K.
    The Washington Post is experimenting with personalized news podcasts created by AI.

    Topline:

    The Washington Post's new offering, "Your Personal Podcast," uses artificial intelligence to customize podcasts for its users, blending the algorithm you might find in a news feed with the convenience of portable audio.

    What critics are saying: The AI podcast immediately made headlines — and drew criticisms from people questioning its accuracy, and the motives behind it.

    What the Post is saying: Bailey Kattleman, head of product and design at the Post, calls it "an AI-powered audio briefing experience" — and one that will soon let listeners talk back to it.

    Read on ... for more details and answers to the biggest questions about this new experiment.

    It's not your mother's podcast — or your father's, or anyone else's. The Washington Post's new offering, "Your Personal Podcast," uses artificial intelligence to customize podcasts for its users, blending the algorithm you might find in a news feed with the convenience of portable audio.

    The podcast is "personalized automatically based on your reading history" of Post articles, the newspaper says on its help page. Listeners also have some control: At the click of a button, they can alter their podcast's topic mix — or even swap its computer-generated "hosts."

    The AI podcast immediately made headlines — and drew criticisms from people questioning its accuracy, and the motives behind it.

    Nicholas Quah, a critic and staff writer for Vulture and New York magazine who writes a newsletter about podcasts, says the AI podcast is an example of the Post's wide-ranging digital experiments — but one that didn't go quite right.

    "This is one of many technologically, digitally oriented experiments that they're doing" that is aimed at "getting more audience, breaking into new demographics," he says. Those broader efforts range from a generative AI tool for readers to a digital publishing platform. But in this case, Quah adds, "It feels like it's compromising the core idea of what the news product is."

    On that help page, the newspaper stresses that the podcast is in its early beta phase and "is not a traditional editorial podcast."

    Bailey Kattleman, head of product and design at the Post, calls it "an AI-powered audio briefing experience" — and one that will soon let listeners talk back to it.

    "In an upcoming release, they'll be able to actually interact and ask follow up questions to dig in deeper to what they've just heard," Kattleman says in an interview with NPR.

    As technically sophisticated as that sounds, there are many questions about the new podcast's accuracy — even its ability to correctly pronounce the names of Post journalists it cites. Semafor reported that errors, cited by staffers at the Postincluded "misattributing or inventing quotes and inserting commentary, such as interpreting a source's quotes" as the paper's own stance.

    In the newspaper's app, a note advises listeners to "verify information" by checking the podcast against its source material.

    In a statement, the Washington Post Guild — which represents newsroom employees and other staff — tells NPR, "We are concerned about this new product and its rollout," alleging that it undermines the Post's mission and its journalists' work.

    Citing the paper's standing practice of issuing a correction if a story contains an error, the guild added, "why would we support any technology that is held to a different, lower standard?"

    So, why is the Post rolling out an AI podcast? And will other news and audio outlets follow its lead?

    Here are some questions, and answers:

    Isn't AI podcasting already a thing?

    "The Post has certainly gone out on a ledge here among U.S. legacy publishers," Andrew Deck tells NPR. But he adds that the newspaper isn't the first to experiment with AI-generated podcasts in the wider news industry.

    Deck, who writes about journalism and AI for Harvard University's Nieman Lab, points to examples such as the BBC's My Club Daily, an AI-generated soccer podcast that lets users hear content related to their favorite club. In 2023, he adds, "a Swiss public broadcaster used voice clones of real radio hosts on the air."

    News outlets have also long offered an automated feature that converts text articles into computer-generated voices.

    Even outside of the news industry, AI tools for creating podcasts and other audio are more accessible than ever. Some promise to streamline the editing process, while others can synthesize documents or websites into what sounds like a podcast conversation.

    Why do publishers want to experiment with AI podcasts?

    "It's cost-effective," says Gabriel Soto, senior director of research at Edison Research, which tracks the podcast industry. "You cut out many of the resources and people needed to produce a podcast (studios, writers, editors, and the host themselves)."

    And if a brand can create a successful AI virtual podcast in today's highly competitive podcasting market, Soto adds, it could become a valuable intellectual property in the future.

    Deck says that if the Post's experiment works, the newspaper "may be able to significantly scale up and expand its audio journalism offerings, without investing in the labor that would normally be required to expand."

    In an interview, Kattleman stresses the new product isn't meant to replace traditional podcasts: "We think they have a unique and enduring role, and that's not going away at the Post."

    What's unique about the Post AI podcast?

    For Deck, the level of customization it promises is an innovation. Being able to tailor a podcast specific to one person, he says, "is arguably beyond what any podcast team in journalism right now can produce manually."

    In an example the Post published, listeners can choose from voice options with names like "Charlie and Lucy" and "Bert and Ernie."

    Kattleman says her team was working from the idea that for an audience, there isn't a "one size fits all" when it comes to AI and journalism.

    "Some people want that really straight briefing style; some people prefer something more conversational and more voicey," she says.

    Quah says that adding an AI podcast is a bid to make stories accessible to a broader audience.

    He says that with the podcast, the Post seems to be trying to reach young people who "don't want to read anymore, they just want to listen to the news."

    A key goal, Kattleman says, is to make podcasts more flexible, to appeal to younger listeners who are on the go.

    Outlining the process behind the Post's AI podcast, Kattleman says, "Everything is based on Washington Post journalism."

    An LLM, or large language model, converts a story into a short audio script, she says. A second LLM then vets the script for accuracy. After the final script is stitched together, Kattleman adds, the voice narrates the episode.

    Will listeners embrace an AI news podcast?

    Soto, of Edison Research, says that 1 in 5 podcast consumers say they've listened to an AI-narrated podcast.

    But, he adds that for podcast listeners, "many prefer the human connection, accepting AI tools to assist in creating the content, but not in executing or hosting the podcast."

    The new AI podcast reminds Deck a bit of the hyper-personalized choices for users offered by TikTok and other social media.

    "There is a level of familiarity
    and, arguably, comfort with algorithmic curation among younger audiences," he says.

    But while younger audiences tend to be tech savvy, many of them are also thoughtful about authenticity and connection.

    "Community is at the core of why people listen to podcasts," Soto says.

    Then there's the idea of a host or creator's personality, which drives engagement on TikTok and other platforms.

    "These creators have built a relationship with their audience — and maybe even trust — even if they haven't spoken to sources themselves," Deck says. "This type of news content is a far cry from the disembodied banter of AI podcast hosts."

    What are the potential downsides of AI podcasts?

    One big potential consequence is the loss of jobs — and for companies, the loss of talent.

    "The automation of it kind of erases the entire sort of voice performance industry," Quah says. "There are people who do this for a living," he adds, who could "produce higher quality versions of these recordings."

    There are also concerns that, if AI chooses a story and controls how it's presented, it might create an echo chamber, omitting context or skepticism that a journalist would likely provide.

    "AI-based news personalization tends to land firmly in the camp of delivering audiences what they want to know," Deck says.

    Deck says he's willing to give the Post's AI podcast a bit of time to see how it plays out. But Deck does have a chief concern: "I can say point blank, generative AI models hallucinate."

    And when AI models are wrong, he says, they're often confidently so.

    Blurring boundaries between human and AI voices could also raise questions of trust — a critical factor for a news organization.

    As Soto puts it, "What happens when your audience expects content from the real you and ends up finding AI instead?"

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  • Legendary OC venue to close
    Four people -- three men and one women -- posing in the backstage of a concert venue.
    No Doubt, Tony Kanal, Gwen Stefani, Adrian Young and Tom Dumont, backstage at the Wadsworth Theater before a taping of ABC Family's "Front Row Center" in Los Angeles, Ca. Sunday, November 11, 2001. *Exclusive* Photo by Kevin Winter/Getty Images.

    Topline:

    Sad news for pretty much anyone who went out to see bands big and small over the past few decades. A storied Orange County indie venue is closing down after some 30 years.

    Why it matters: Over the years the venue has hosted budding local bands and big acts alike, including No Doubt and Turnstile.

    Last shows: Chain Reaction in Anaheim announced on their Instagram that their final shows will be on Dec. 18 and Dec. 19. The Rancho Santa Margarita band Movements will headline.

    No word on why the venue is shutting down.

    "This call wasn't made quickly. We wrestled with it and have ultimately made the decision to close our doors," said Chain Reaction management on Instagram.

    "We want to thank you for the friendships and memories made in our special club. Thank you for supporting us through the years and when we needed it most," the post continued.

  • Fewer characters went through with the procedure
    A teenage girl with brown hair and a jean jacket with a hospital bracelet on talks to a woman with a brownish-red sweater and short brown hair.
    Abby Ryder Fortson portrayed Kristi Wheeler, a teen who came into the hospital for a medication abortion, on The Pitt.

    Topline:

    Storylines about abortion and conversations about it showed up on television 65 times this year, on prestigious dramas like The Pitt and Call the Midwife, on reality shows such as W.A.G.s to Riches and Love is Blind and on lowbrow animated comedies like Family Guy and South Park. That's about the same as last year. In 2024, TV shows featured 66 such plotlines.

    Why it matters: "I think there still is a lot of stigma, even in allegedly liberal Hollywood," says researcher Steph Herold. She says the report, which has come out for about a decade, reflects a profound lack of accurate representation of abortion use in America.

    Read on ... for more details from the annual Abortion Onscreen report.

    Storylines about abortion and conversations about it showed up on television 65 times this year, on prestigious dramas like The Pitt and Call the Midwife, on reality shows such as W.A.G.s to Riches and Love is Blind and on lowbrow animated comedies like Family Guy and South Park. That's about the same as last year. In 2024, TV shows featured 66 such plotlines.

    But in the past few years, there's been a significant drop in the number of characters who actually went through with an abortion. 37% obtained an abortion in 2025, a 14% decline since 2023.

    That's according to the annual Abortion Onscreen report. It comes from Advancing New Standards in Reproductive Health, a research program on abortion and reproductive health based at the University of California San Francisco.

    "I think there still is a lot of stigma, even in allegedly liberal Hollywood," says researcher Steph Herold. She says the report, which has come out for about a decade, reflects a profound lack of accurate representation of abortion use in America. For example, she points to research showing that about 60% of real life Americans who seek an abortion deal with some sort of barrier.

    "But only about a third of people who are characters on screen face any kind of barrier to abortion," Herold said. "Whether it was not being able to come up with the cost of the abortion, not having somebody to watch their kids or cover for them at work, having to deal with clinics that are miles away, or in other states having insurance that wouldn't cover the cost." Most TV shows in 2025 depicting women struggling to get abortions focused on legal obstacles in the past and present.

    On TV, 80% of characters seeking abortions are upper or middle class, but in real life, most abortion patients struggle to make ends meet. "This [disparity] obscures the role that poverty plays in obstructing access to abortion, and perhaps explains why we so rarely see plotlines in which characters wrestle with financial barriers to abortion access," the study says.

    This year, a teenager on The Pitt sought abortion pills to end her pregnancy — one of only three stories depicting medication abortion out of 65 plotlines about abortion this year. That's another disparity between representation on-screen and real-world numbers: research shows that abortion pills account for the majority of abortions in the U.S. Another difference: only 8% of people seeking abortion on TV are parents. In real life, most abortion patients have at least one child.

    It is unrealistic, says Herold, to expect TV to perfectly reflect current abortion use in the U.S., but she said she was disappointed by certain trends. Fewer characters this year received emotional support around their abortions, and more shows, she said, including Chicago Med, 1923, Breathless and Secrets We Keep featured plotlines that emphasized shame and stigma around abortions, especially because of religion. These storylines, the report says, "both obscure the diversity of religious observance among people having abortions, portraying religious patients as exclusively Christian, and also only associating religion with prohibiting abortion, instead of being a meaningful or supportive part of someone's abortion decision-making and experience."

    But even though abortion has long been a hot-button political issue, Herold says millions of Americans have had some sort of experience with abortions. "Whether it's having one themselves or helping a daughter or a friend," she said, adding that stories that reflect a diversity of abortion experiences will be familiar to many viewers.

    One bright spot, she added, was that television is doing a better job of reflecting the racial realities of abortion. A slight majority of characters in abortion plotlines are people of color — and although they are by far the majority of abortion seekers in real life, this marks a notable improvement from a decade ago, when TV shows more often portrayed women seeking abortions as wealthy and white.

  • Is the brightest meteor show of the year
    A meteor is seen burning in space over a desert. Various stars surround the meteor. A caravan of stargazers is seen in the bottom left.
    A meteor burns up in the sky over al-Abrak desert north of Kuwait City during the annual Geminid meteor shower.

    Topline:

    Geminids, the strongest meteor shower of the year hit their peak this weekend.

    Why it matters: Over 150 meteors per hour are expected to burn through the night sky tonight and Sunday.

    Read on ... to find the best places and learn the best time to watch the celestial phenomenon.

    Geminids, the strongest meteor shower of the year, hit a peak this weekend, sending over 150 meteors per hour through the night sky tonight and Sunday.

    Vanessa Alarcon, an astronomical observer at the Griffith Observatory, says despite being the best and brightest every year, these meteors don’t tend to get many fans.

    " It's usually not as heavily attended, I think because it's a lot colder in the winter. So it's definitely a deterrent, but technically, it's more meteors per hour than the Perseids are," Alarcon said.

    The Perseids are typically visible between July and August, but this summer, they were mostly drowned out because of light pollution from the full moon.

    Alarcon says it will be a different story this weekend.

    " The Geminids ... there's about a 25% crescent moon. So it's actually going be even better than the Perseids," Alarcon said.

    Where to go for the best view

    For the best viewing experience, you'll have to brave the cold of the deserts and mountains at night, but it should be worth the trip.

    "You should go to a darker sky," Alarcon said. "And basically, you just want to get away from the city lights — anything away from the city lights is going to be an improvement from trying to watch it at home."

    When to best see it

    The Geminids are notable for being exceptionally bright, burning like fireballs for several seconds. The meteors can be seen after 8 p.m. tonight, Alarcon said, peaking between 1:20 and 2:20 a.m. and visible until 5:20 a.m.