The Brief

Contaminated raw milk continues to be the bane of public health officials.

The California Public Health Department has officially recalled all Raw Farm brand milk and cream on store shelves, instead of just the previously two recalled lot numbers. It’s strongly discouraging people from consuming any of the Fresno company’s other raw dairy products.

The milk and cream have tested positive for bird flu as recently as the past week. While it’s not widely consumed by the general public, raw milk has garnered more attention recently through Robert F. Kennedy Jr., President-elect Donald Trump’s nominee for secretary of Health and Human Services, who has been a strong advocate.

Currently, about 4.4% of U.S. adults report drinking unpasteurized milk at least once a year.

Understanding the recall

The department said the overall risk to the public remains low, but it’s working to contain the issue. So far, human bird flu cases have been found mostly in dairy workers in the Central Valley.

Raw Farm products tested positive for bird flu at both retail and dairy storage bottling sites. The recall applies to milk and cream produced between Nov. 9 and Nov. 27, covering lot numbers 20241109 through 20241127.

For shoppers, that means Raw Farm products likely won’t be on the shelf for a bit. The farm is under quarantine, preventing it from distributing any new batches of its raw milk, cream, kefir, butter and cheese products.

The department is recommending that people avoid consuming these other products, as well as the company’s raw milk pet food topper and pet food kefir.

You can head back to where you purchased the product to get a refund.

What could drinking contaminated milk do?

Bird flu, or H5N1, is part of the influenza family. It likes to go to a cow’s mammary glands, which is why it’s appearing in milk.

But can you actually get bird flu from drinking contaminated milk?

Dr. Kimberly Shriner, medical director of infection prevention at Huntington Health in Pasadena, said “most of the data shows that the risk from ingesting H5N1 contaminated material, whether it’s milk or something else, that the risk of acquiring the actual disease is relatively low.”

But things like the amount of viral load can change the risk of infection, and bird flu virus levels have been high in raw milk from infected cows, according to the department.

Current data also shows that risk of infection can be lower if you drink it, versus breathing it in, but it’s still possible.

Shriner said public health officials made a “prudent” call with the recall since viruses can mutate quickly.

“I think it’s important to understand that you can be exposed to it,” she said. “But have there been any documented diseases in a human where that’s been the portal of entry? As of yet, no.”

Public health officials have been watching for bird flu for years, and they’ve long been concerned that this could become the next pandemic. Shriner said all it has to do is mix with regular influenza, the H1N1 virus, to acquire the attachment mutation that makes infections more possible. Human-to-human transmission is incredibly rare right now, and hasn’t happened in the U.S.

“We all have decisions to make,” Shriner said, “We do still need to depend on public health departments to keep us safe from diseases that can be potential for pandemics.”

Bernard Brown grew up going to parties all around Los Angeles. Maybe a little before he was supposed to.

“I won't say my age. I don't wanna get nobody in trouble,” he joked. “But I went to clubs like The Catch — The Catch One — and The Study on Hollywood and Western and places like that that are no longer with us.”

Brown went on to become a contemporary dancer and choreographer, and he remembers watching those dancers, and the tenderness they had for each other. He told LAist that was exactly what informed his new art installation and dance performance, “Sissies: Something Perfect Between Ourselves,” at the Pieter Performance Space this Juneteenth weekend.

“ I thought a lot about how intergenerational learning was starting to slip away, and what does it mean to learn how to be a Black queer person?” Brown said. “Where are those spaces, and how did I learn how to be this way? And so making this work has been about this labor, this love, this intergenerational learning, and also community.”

What to expect

“Sissies” has two components: an installation on view Friday through Sunday, and a dance performance featuring some of L.A.’s most prominent dancers and voguers this Saturday night at 8:30 p.m.

Rosalie Tucker, director of Pieter Performance Space, said this will look a little different from other dance performances you may have been to.

“The invitation to everyone who is a guest in the show, who has bought a ticket is: Let it go,” she said. “Let yourself be in the club. React. You don't have to be quiet. This isn't a silent setting. This is not a traditional theater setting, and that is intentional.”

That’ll culminate after the performance, when the audience will also be invited to join the dancefloor.

If you can’t make it to the performance, the installation will also be on view in the afternoon throughout Juneteenth weekend. Brown told LAist he also hopes to find a permanent home for the archives and exhibits he’s amassed.

The inspiration behind ‘Sissies’

Normally, projects of this kind involve archival research, and that’s certainly a big part of the work. But for Brown, who was actually there at clubs watching vogue practitioners work the dancefloor, the research process looks a little different.

Brown calls the work “autoethnographic” — that’s to say, a big part of what you’ll see is based on his own experiences watching others over the decades.

“ We're talking about vogue, all of the elements: hand performance, floor performance, catwalk, duck walk,” Brown said. “All of those things appear in the work, but it's based on the truth, uh, and the authenticity of our people.”

The themes in Brown’s work resonated with Tucker, especially in this political moment.

“What we're seeing is our histories being not just erased, but violently erased, and, uh, excluded and lied about,” she said. “So we really have, I think, a responsibility to the future, to ourselves, to claim the truth of, this is what happened then, this is what's happening now.”

Brown’s collaborators

Los Angeles has a long history of queer Black underground clubs and events, one that continues to this day in underground parties and warehouse shows.

“ Bernard has built this with the people who are the Black underground in Los Angeles as well, so it's not just like a theoretical thing,” Tucker said.

Many of Brown’s dancers have performed with people like Beyoncé, but they’re also artists doing their own thing. The score for the show is by DJ DeFacto X, a co-founder of Black Bass Collective, a staple of L.A.’s warehouse scene.

“They are creating their own work,” Brown said. “They are making spaces where people congregate, and they're doing the Lord's work in that regard, finding their way to the movement of our queer ancestors.”

Though Brown won’t be performing in the show, he said he’s moved when he sees younger people go through the same movements as the voguers and other dancers he used to see in clubs.

“I am filled with joy — literal joy — and sometimes tears at how beautiful it is to see Black queer men being together intimately, folding into each other their individual kikis and lalas that happen during performance, the authenticity of their visceral connection to each other,” he said.

LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as "Cheers," "Taxi," "Friends" and "Will and Grace," died Friday. He was 85.

His family confirmed his death in a statement to People, saying he "passed away peacefully today surrounded by his family." No location or cause of death was provided.

Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

Burrows got his start in television relatively late at age 35 in 1974, directing episodes of "The Mary Tyler Moore Show," "The Bob Newhart Show," and "Laverne & Shirley."

He co-created "Cheers," directing 243 of the 273 episodes, as well as all 246 episodes of "Will and Grace."

He also helmed multiple episodes of such hits as "Frasier," "Friends" and "Mike & Molly," and the pilots of "Two and a Half Men" and "The Big Bang Theory."

"When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers," Burrows wrote in his 2022 memoir "Directed by James Burrows." "Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh."

His family said, "Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

"But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated," the family statement said.

Born James Edward Burrows on Dec. 30, 1940, in Los Angeles, he moved to New York when he was 5 years old. He spent five years in the Metropolitan Opera Children's Chorus until his voice started to change. He attended LaGuardia High School of Music & Art.

His father was writer, director and producer Abe Burrows, whose Broadway hits included "Guys and Dolls" and "Can-Can." The elder Burrows also mentored Larry Gelbart, future creator and producer of the TV show "M(asterisk)A(asterisk)S(asterisk)H."

The younger Burrows spent hours of his youth in theaters and studios watching his father work, dining with him at such famed New York haunts as Sardi's and Gallagher's and meeting celebrities who attended his father's New Year's Eve parties.

After earning a bachelor's degree from Oberlin College, Burrows attended the graduate program of the Yale School of Drama, where his classmates included actor-comedian Robert Klein, playwright John Guare and film director John Badham.

At Yale, he was required to take directing classes and he got hooked.

Burrows' first sitcom experience was as Burl Ives' dialogue coach on "O.K. Crackerby!" which was directed by his father and ran for one season on ABC in 1965.

From there, he was an assistant on "The Patty Duke Show." He moved back to New York and worked for Broadway producers Lee Guber, Frank Ford and Shelly Gross. He first met actor Moore while working on the Broadway production of "Holly Golightly," an adaptation of "Breakfast at Tiffany's" that was directed by his father.

Burrows eventually worked as a stage manager for various road productions, where he met such actors as Hugh O'Brien, Zsa Zsa Gabor and Julie Harris.

By 1974, after working in dinner theater and summer stock, he turned on his television and saw Moore's eponymous TV show. He wrote her a letter asking if there was any opening "small or smaller" at her production company that he could fill, according to his memoir.

Moore's husband and business partner, Grant Tinker, invited Burrows to Los Angeles to direct an episode of the comedy. He apprenticed for MTM Enterprises, which had four sitcoms on the air at the same time.

Burrows cited his theater background for learning how to give actors direction and block out scenes. He's credited for being one of the first sitcom directors to increase the typical multi-camera television shoot from three to four cameras.

The common thread between Burrows' shows were the bonds between friends and unrelated families, whether it was the motley crew of regulars meeting at the bar in "Cheers" or the drivers working toward a better life in "Taxi" or the 20-somethings sharing the same apartment building in "Friends."

"The best sitcoms transcend the screen and reach out and grab the audience by the throat and by the heart," Burrows wrote in his memoir.

He relished discovering new acting talent while directing more than 75 pilots that were picked up as series.

"Having directed over a thousand shows means that almost any night you can turn on your television or go online and find a show that I directed. I'm very proud of that," he wrote in his memoir.

In 2019, Burrows was an executive producer on live productions of "All in the Family" and "The Jeffersons" with famous actors re-creating episodes of those 1970s comedies.

Burrows was married in 1997 to Debbie Easton, whom he met when she worked as a hairstylist on "Frasier." Daughters Kat Schatzow, Ellie Gluck and Maggie Burrows, who followed her father into directing, are from his first marriage to Linda Solomon, who died in 2004. His stepdaughter Paris is from his wife's previous marriage. He has a sister, Laurie Burrows Grad, and seven grandchildren.
Copyright 2026 NPR

SEATTLE (AP) — The U.S. men's national soccer team advanced to the knockout round at the World Cup despite the absence of injured forward Christian Pulisic, beating Australia 2-0 on Friday.

A deep U.S. roster overcame Pulisic’s absence to clinch a knockout berth after only two matches for the first time. The last time the Americans served as World Cup hosts in 1994, they advanced by being one of the best third-place teams. They then lost to eventual champion Brazil in their next match, which was in the round of 16.

Pulisic, who plays for AC Milan and has 33 goals in 87 international appearances, missed Friday’s match because of a calf injury.

Alex Freeman, the youngest player on the team at 21 and son of Super Bowl champion Antonio Freeman, gave the Americans a 2-0 lead in the 43rd minute off a set piece. Freeman headed in a deflected shot by Sergiño Dest for his first career World Cup goal. The goal was confirmed after a video review.

The U.S. took a 1-0 lead in the 11th minute after a run down the left sideline by Folarin Balogun, who scored two goals in the 4-1 victory over Paraguay on June 12.

Balogun directed a centering pass towards striker Ricardo Pepi, who started in place of Pulisic. The ball never reached Pepi, deflecting off Australia defender Cameron Burgess and into the Socceroos’ net for an own-goal.

Pasadena residents fighting a school district plan to remove nearly 200 trees scored a win Thursday night.

Pasadena Unified School District officials had said 193 trees across 11 campuses need to be cut down to clean up soil contaminated by the Eaton Fire. But on Thursday, the district’s board voted unanimously to attempt to save up to 57 of those trees.

The adopted motion is no guarantee trees will be saved, but directs staff to evaluate other ways to remediate soil around certain mature, protected trees.

The vote came after public outcry from local residents, including a Pasadena teen who spent more than eight hours in the branches of an oak tree slated for removal at the district’s headquarters.

Why is the district trying to remove trees?

Last May, the school district released the results of soil tests taken after the Eaton Fire, which found elevated levels of toxic metals, primarily lead and arsenic, at 13 campuses. (You can see the reports for each campus here).

Then, late last month, the district announced it planned to remove nearly 200 trees to excavate one to 4 feet of contaminated soil at the remaining 11 campuses it has to clean up. Officials said they need to get the work done before students return from summer break.

The plan angered many residents.

Chapman University soil scientist Christine Sierra O’Connell said removing contaminants is critical, but cutting down too many trees could swap out one problem for another.

“You could easily imagine taking down all these trees, and the next time there's a big heatwave before the end of the school year, these campuses are super hot,” she said.

She said areas like sports fields and open soil playgrounds make sense for excavation, but a variety of methods can be used to remediate soil near trees, including phytoremediation, in which plants are used to take up metals in the soils.

“In my opinion, PUSD should not be moving forward with a wholesale excavation strategy without circling back and deeply investigating whether or not alternative soil remediation strategies can be utilized around the root beds of these large, mature, important trees,” O’Connell said.

District has concerns about additional costs

The district’s facilities director, Michael Dunning, said at the Thursday board meeting that he and his staff will assess 57 mature, protected trees where it may be possible to use an “air excavation method” to clean the soil at their base.

“It does take longer periods of time,” Dunning said. “It does come with some risk. We could go through the cost of trying this method at each tree and still not come to a conclusion.”

If the district doesn’t clean up the soil to accepted levels, they’d have to enter into a “land use covenant” with the state’s Department of Toxic Substances Control. That would require certain areas to be permanently closed off, or possibly made impermeable with concrete, as well as additional training and staff for maintenance, which could cost the district $30,000 per year in perpetuity, Dunning estimated.

“I’m not certain that our budget could withstand such a thing,” said Boardmember Michelle R. Bailey.

The original full excavation plan is estimated to cost $6.6 million, though the district would be reimbursed by the state if the contamination is reduced to public health standards.

Benjamin Stanphill, Southern California division chief at the state Department of Toxic Substances Control, told board members that the agency is "somewhat agnostic” about the method of contaminant removal and that they’d consider approving a plan involving bioremediation or phytoremediation methods.

Meanwhile, the district said in a statement that staff and arborists “will continue refining site-specific approaches, site by site, tree by tree… with the goal of maintaining as many protected trees within the removal areas as possible.”