The Brief

A former stoneworker named Lopez sat confined to his East Bay home, breathing with the help of a whirring oxygen supply machine through clear tubes pronged to his nostrils. After years of making kitchen countertops from engineered stone, the 43-year-old was diagnosed with silicosis, an often deadly lung disease linked to inhaling toxic dust the material releases when powercut.

The once-active father of four now awaits a double lung transplant. He can no longer support his family or walk a few steps without pausing to catch his breath. Two stonecutter friends died after working with the man-made material, also known as artificial stone or quartz. Three others are on a waitlist for lung transplants, he said.

“I feel desperate just sitting here unable to do anything,” said Lopez, an undocumented immigrant who worked in California for more than two decades. KQED is withholding his full name, as he fears losing vital medical care if arrested by federal authorities.

“It’s agonizing waiting for the hospital to call me so I can finally get the transplant I’m waiting for and be able to go back to work,” he said.

As silicosis cases surge in California’s countertop fabrication industry, medical and occupational safety experts warn that current regulations won’t protect hundreds more relatively young workers like Lopez from contracting the incurable illness. The state must act urgently to phase out hazardous engineered stone from fabrication shops, as Australia did, they say, to stem a growing health crisis.

Australia banned the use, supply and manufacture of engineered stone benchtops in July 2024, forcing major manufacturers to switch to silica-free alternatives in that market, though they still sell their higher-silica products in the U.S. The companies maintain that their products are safe if fabrication shops follow protocols.

A photo of a pair lungs with silicosis used in a Cal/OSHA presentation slide about the disease, and rising number of cases in California, at a public meeting on Nov. 13, 2025.

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“Silicosis is preventable when proper safety and health measures are in place to protect workers against inhalation of silica dust in the workplace,” a spokesperson for Cosentino North America said in a statement. “The company continues its efforts in research and development for the ongoing improvement of its products.”

Between 1,000 to 1,500 stoneworkers in California could develop silicosis within the next decade, leading to roughly 285 deaths, according to California’s Division of Occupational Safety and Health, or Cal/OSHA. The state is home to about 5,000 countertop fabrication workers, predominantly Latino immigrants.

Artificial stone in the U.S. market often contains more than 90% pulverized crystalline silica, far more than natural stones such as marble and granite. When workers powercut, polish and grind slabs of the material, tiny silica particles are released. If inhaled, they can lodge in the lungs and cause tissue scarring that progressively impedes breathing. Respirable silica can also lead to lung cancer, chronic obstructive pulmonary disease and other illnesses.

To save lives, the Governor’s Office could issue an emergency declaration pausing the processing of artificial stone until a permanent ban is pursued through rulemaking, according to a Sept. 4 memorandum obtained by KQED. Drafted by a committee of doctors, occupational safety experts and worker advocates convened by Cal/OSHA, the letter was addressed to the state board responsible for adopting new workplace safety regulations, but was not sent.

Gov. Gavin Newsom’s press office did not respond to requests for comment about his position on banning engineered stone in fabrication shops. A spokesperson with the Department of Industrial Relations, which oversees press requests for both Cal/OSHA and the Occupational Safety and Health Standards Board, said the draft had not been vetted.

“The memo referenced … is an incomplete working draft by the Silica Technical Committee and not by Cal/OSHA. None of the recommendations are final,” the spokesperson said in a statement. “Cal/OSHA continually works to protect the health and safety of California’s workers and enforces all regulations adopted by the Board.”

Several board members have publicly expressed dismay for months at the steep climb in silicosis cases, but the agenda for their next meeting on Thursday does not include decision-making on artificial stone.

Maegan Ortiz, director of the Instituto de Educacion Popular del Sur de California, said that although the state approved stricter standards nearly two years ago, California has made little progress in protecting stoneworkers still inhaling engineered stone dust on the job.

Lopez adjusts the breathing tube connected to his oxygen tank in his home in Pittsburg on Nov. 15, 2025. (Martin do Nascimento/KQED)

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“We need to ban this. I think the concern is great, but it is kind of like thoughts and prayers in the face of other crises that don’t go far enough,” said Ortiz, whose organization has been surveying stoneworkers in Los Angeles County, the state’s silicosis epicenter. “We’ve seen the conditions ourselves on the ground in terms of the amount of dust that is there, even in these bigger shops that are following the regulations. Workers see the dust, they carry it on them.”

Since 2019, more than 430 workers have been confirmed with silicosis in California, including 25 who died and 48 who underwent a lung transplant, according to state public health officials tracking reported cases. Half of those sick are located in Los Angeles County. Nearly all are Latino men, some in their 20s, who said they didn’t know how dangerous artificial stone dust could be. About 40% of silicosis cases were identified this year.

Lopez said he worked in licensed shops using safety gear and methods his supervisors said would protect him. He wore filter masks and cut and polished engineered stone with machines that covered slabs with water to suppress dust. But mounting evidence shows silica particles in artificial stone dust are so small and toxic that it doesn’t take much to hurt workers. Silica can penetrate filter masks and remain on workers’ clothes and tools when water dries.

Australia tried banning drycutting of engineered stone, similar to Cal/OSHA rules in place since December 2023 and a bill Newsom signed last month, SB 20. Australia also tried additional safeguards, including full-face powered air-purifying respirators, ventilation systems and monitoring, like California’s strict regulations that go beyond federal requirements. But in both places, experts say, the sophisticated and costly measures are not realistic for an industry made up of mostly small shops with only a few workers.

“I think it’s completely unfeasible,” said Dr. Ryan Hoy, a respiratory physician and researcher at Monash University in Melbourne, Australia. “I often use the analogy that you can work with asbestos safely, you can work with uranium safely, but you need to have in place very sophisticated control measures.”

In California, most fabrication shops are not complying with drycutting bans, respiratory protection, monitoring or other requirements. About 94% of 107 worksites investigated by Cal/OSHA had violations of the silica regulations as of Oct. 16.

Lopez’s wife said she wished her husband had more accurate information from manufacturers, vendors and employers before working with artificial stone so he could have chosen whether to take on the risk. Considering the impact of his disease on her family, the 41-year-old choked back tears.

“It’s painful because I’ve always seen him working. He’s always looked out for us. He’s the pillar of our family,” she said in Spanish, adding that her youngest son is 3. “It hurts us deeply.”

Lopez’s state disability benefits have run out, he said, and the family relies on financial support from their oldest daughter, a 20-year-old medical assistant. He became one of hundreds of workers in the U.S. and other countries who have sued top manufacturers of engineered stone — including Minnesota-based Cambria, Israel-based Caesarstone and Cosentino, headquartered in Spain — claiming silica-related injuries.

Caesarstone, which generated nearly half of its $303 million in revenue so far this year in the U.S. market, reported claims by more than 500 individuals in its latest financial results. The company recorded a $46 million provision for probable losses, with $24.3 million covered by insurance. But costs could grow, as most of the 320 U.S. claims are awaiting trial.

Caesarstone won one case in the U.S., which remains under appeal, and settled another this year, according to Nahum Trust, Caesarstone’s chief financial officer, during an earnings call this month. Last year, a jury awarded a 34-year-old stoneworker $52 million after finding Caesarstone and other companies liable, a decision the company has appealed.

The company developed crystalline silica-free countertop surfaces in preparation for restrictions in Australia and recently unveiled what it advertises as safer alternatives for fabrication workers in the U.S. Caesarstone’s sales were down this quarter in the U.S. and Canada, due to softness in the market and competitive pressures, according to Trust, but sales are up in Australia.

A stone fabricator places his hand on a table that he cut at his home in San Francisco on Oct. 17, 2023.

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“Our first year of real growth in this market since the silica ban implementation,” Trust said. “This reflects early recovery and the successful launch of our zero silica collection.”

Cosentino said it has also moved to offer newer products due to safety concerns, including a new mineral-surface product with zero crystalline silica that will be available next year globally.

Cosentino, Caesarstone and associations representing manufacturers declined to comment on why they continue selling their high-silica engineered stone products in the U.S. if they have alternatives for the Australian market.

Global demand for artificial stone, a multibillion-dollar industry in the U.S., is expected to significantly grow. In California, sales are expected to increase even more due to efforts to rebuild the more than 16,000 homes and buildings destroyed by January wildfires in Los Angeles.

Consumers prefer the stain-resistant material because it’s often cheaper than natural stone and offers diverse colors and designs. But many homeowners don’t know of the potential health impacts to the workers who make their countertops.

Pulmonologists predict silicosis cases will keep rising, even if exposure to silica dust stopped immediately. By the time workers feel symptoms, the disease has often advanced, Hoy said.

“Unfortunately, that is definitely the tip of the iceberg of workers that are currently affected,” said Hoy, who screened stoneworkers in Australia for silicosis and treats diagnosed patients.

As manufacturers switched to silica-free products in Australia, costs increased, but consumers still purchased countertops for renovations and new buildings. The industry carried on without the old material.

Dr. Hayley Barnes, a pulmonologist who studied silicosis in Australia, said that initially, talking about banning the material in that country felt like a huge ordeal, with predictions that the building industry would collapse and jobs would disappear. But that didn’t happen, she said.

“The companies just made a low-silica or no-silica product, which is currently available in Australia and many other countries,” Barnes said.

Now medical director of UCSF’s Interstitial Lung Disease Program, she worries many cases in California have not yet been diagnosed, and stoneworkers are suffering.

“We could do better. It’s been done elsewhere,” Barnes said. “People would still get their houses and apartments built and workers would be better protected.”

Dr. Sheiphali Gandhi, an assistant professor of medicine at UCSF and a colleague of Barnes who treats dozens of silicosis patients, said she wants California to begin phasing out artificial stone countertops. The move would ensure consumers purchase materials that also protect workers, she said.

“We’ve tried all these regulations, but we still are seeing that the cases are going up,” Gandhi said. “We need to move towards the more effective strategies of elimination or substitution, where we really go for safer alternatives.”

For now, Gandhi must wade through a stack of about 40 additional cases of very sick workers she has been referred.

“It’s just like every month, my mailbox is full of more referrals of silicosis cases,” she said. “The number of cases is exploding. It’s insane.”

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

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

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

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It’s ‘small’ lit

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

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

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

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

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

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

Pressed locally

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

People at LITLIT 2024 look through different small presses.

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

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

Panels, printing presses, and workshops

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

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

People sit down for a panel discussion at LITLIT 2024.

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

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

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

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

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

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

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

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

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

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

The answer wasn't obvious.

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

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

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

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

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

But relief has not arrived quickly enough for many businesses.

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

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

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

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

Before posting it, Trujillo showed it to her mother.

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

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

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

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

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

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

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

Decor inside Wet Paws embraces a playful canine motif.

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

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

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

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

But recovery remains uneven.

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

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

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

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

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

They chose to renew the lease for another three years.

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

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

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

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

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

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

Mural by artist hi-dutch.

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

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

Mural by artist Yusuke Hanai.

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Mural by artist Yusuke Hanai.

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

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

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

Mural by artists Sandy Yang and James Hamblin.

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

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

Bring the art museum to the school

Erik Caruso.

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

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

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

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

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The murals were next.

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

Crew at work

Mural by artist Chris Johanson.

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Mural by artist Chris Johanson.

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

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

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

Breed Street Elementary in Boyle Heights.

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She brought Caruso out for a site visit last September.

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

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

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

Mural by artists Lookout & Wonderland

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Mural by artists Lookout & Wonderland

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Paying it forward

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

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

Mural by artist Oitama.

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Mural by artist Lori Damiano.

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

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

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

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

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

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

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

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

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

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