The Brief

The apartment building planned on East Morris Avenue in Modesto is exactly the kind of thing that California’s political leaders want to see a whole lot more of: The project promises 44 units of affordable housing — half reserved for people without homes. It’s received zoning approval, weathered public feedback, earned the support of local elected officials and sits beside a busy bus line. Once built, the project promises on-site mental health services, job training and Zumba classes.

What the project lacks is money.

Having quilted together a financial patchwork of local government and corporate grants, private debt, and a plot of land donated by a foundation, it remains just shy of the total needed to break ground.

Six years and 13 funding applications after it was first proposed, the Morris Village project sits ready, but waiting.

An estimated 39,880 affordable units across California are stuck in financial purgatory, according to a new report by Enterprise Community Partners, a national nonprofit that funds, consults and advocates for affordable housing. That’s 461 “shovel-ready developments” that, like the one on East Morris, are fully designed, legally green-lit and backed with a significant — but still insufficient — amount of money.

Many have “been sitting for a year or two waiting for funding,” said Justine Marcus, policy director for Enterprise’s Northern California office and one of the report’s co-authors. “There’s no exit route right now. It’s a bottleneck.”

For many developers and affordable housing advocates, that bottleneck represents an especially frustrating inconsistency of California public policy. Lawmakers are desperate to see the state build more homes — of all kinds, but especially for people with the least ability to pay the state’s exorbitant rents. State housing regulators have ordered local governments to plan for the construction of an additional 2.5 million units by the end of the decade. One million of those are supposed to be for people making less than 80% of each region’s median income.

As a general rule, that’s a population of hard-up renters that the private market has been unable to profitably serve at scale. To fill that gap, non-profit low-income housing developers typically turn to taxpayer-funded support. At the moment, according to the report, there isn’t enough of that to go around.

Enterprise took publicly available but hard-to-parse applicant lists from seven subsidy programs administered by various wings of California’s state government going back three years. With a combination of number crunching and a little inference, the report estimates that clearing the current backlog would require an extra $4.1 billion, split between state administered grants, low-cost loans and tax write-offs.

Once awarded, this final layer of state subsidy has to be spent in relatively short order. That means this list of 39,880 units comprise a group of affordable housing projects that are all but ready to go, said Marcus. “They kinda have to have their (stuff) together.”

Case in point: Two-thirds of the projects on the list have already received support from at least one other state program. Those dollars aren't awarded to just any developer, said Betsy McGovern-Garcia, vice president of Self-Help Enterprises, one of two non-profits behind Morris Village.

“These are all projects that are close to amenities,” she said. “These are all projects providing resident services. These are all projects that are financially feasible...They are all meeting the bar for what we want to see as a state out of our affordable housing community.”

In February, McGovern-Garcia and her colleagues applied for a final round of financial support from the state “to close the gap” and finally start construction.

“We are optimistic this might be our round,” she said in an interview, her fingers crossed.

A moving bottleneck

California has seen gridlock in affordable housing production before, but the precise location of the traffic jam has changed over time.

When Nevada Merriman was leading a team of affordable developers in Silicon Valley a decade ago, she said local approval was the major hold-up. Getting the legal okay to build low-income housing on a particular site in a particular town required developers to run a gauntlet of planning department and city council meetings, win over hostile neighbors with costly concessions, community meetings and design revisions and to fend off the ever-present possibility of litigation. Because relatively few projects survived that ordeal, the competition for funding on the other side wasn’t especially stiff, said Merriman, who is now policy advocate for MidPen Housing, an affordable developer in San Mateo County.

That began to change earlier this decade. California lawmakers began passing laws overriding these local impediments — especially for affordable projects. All of a sudden more projects were clearing those early regulatory hurdles and competing for Low-Income Housing Tax Credits, the federal government’s signature affordable housing construction subsidy. The bottleneck moved further up the road.

But then that too began to change late last year. Buried in President Donald Trump’s signature tax bill from 2025 was a significant boost to the tax credit program. (Specifically, the law increased the total supply of one type of credit while allowing another kind to be spread out over twice as many projects).

Which brings us to the latest bottleneck.

Now projects can get through local approval. They can more easily acquire the final and most important layer of federal financing. But project sponsors typically can’t apply for that until all other financial holes are plugged.

“We’re looking for state sources to fill that gap,” said Merriman. “We want to make sure we don’t leave those federal sources on the table.”

MidPen currently has 1,198 units spread across seven developments waiting for that last bit of funding, she said. “Should there be a source…there’s a pipeline that is ready to go.”

“There’s no exit route right now. It’s a bottleneck.”Justine Marcus, Northern California policy director, Enterprise Community PartnersCalifornia’s last major infusion of public affordable housing dollars came in the form of a voter-approved bond in 2018. That well has run dry. A hodgepodge of funding streams remain.

Adding together funding that has already been approved by legislators but not yet spent and a variety of other state and federal sources, California’s Housing and Community Development department says at least $1.8 billion should be available for affordable developer applicants this year. Gov. Gavin Newsom’s budget proposal for the coming fiscal year doesn’t include any new discretionary spending beyond that.

Boosters of more funding have reasons to be optimistic. Newsom has taken such an austere posture in early budget negotiations before only to have the Legislature successfully pour hundreds of millions of dollars of affordable housing subsidies back into the final budget agreement.

California lawmakers are also considering a record-breaking $10 billion affordable housing bond for the 2026 ballot. If a majority of voters go for that, “we’d be off to the races,” said Merriman.

Cutting costs

One way to get more affordable housing built is by spending more money. The other is trying to make the existing money go further by cutting costs.

The cost of affordable housing construction is notoriously high in California: A 2025 study estimated that tax credit-financed projects here cost two- to four-times the amount of comparable projects in Colorado and Texas. There is no single reason for this disparity. Land costs in California are significantly higher. So too, often, is the cost of labor. Regulatory barriers like restrictive zoning, slow permitting and stiff impact fees are frequently named as culprits. Sometimes old-fashioned construction methods and materials get blamed.

But there’s also the cost of just waiting around.

A typical affordable development in California will have two or three public funding sources, with some drawing on six or more. Many of these sources are awarded on their own timelines. Each has its own program-specific requirements that can take time to meet. Some are conditional on the receipt of another. As time goes by, developers still have to make payroll, pay interest on pre-construction loans and watch as inflation drives construction costs up further. As delays compound, funding sources that have already been secured might expire, setting things back further.

Each additional funding source delays the start of construction on a project by an average of four months, adding an extra $20,460 per unit, according to an analysis by the Terner Center for Housing Innovation at UC Berkeley.

The Newsom administration is currently tinkering under the hood of California’s affordable housing finance system in an effort to speed things up.

Last year, the governor proposed the creation of the state’s first ever cabinet-level housing agency. The California Housing and Homelessness Agency is scheduled to take over the state’s disparate housing loan and grant programs. The governor’s office also proposed legislative language that would force the new agency and the Treasurer’s Office to operate in tandem, giving affordable housing developers a single place to apply for the state’s various funding programs — and to cut out some of the time they spend stuck in line.

This article was originally published on CalMatters and was republished under the Creative Commons Attribution-NonCommercial-NoDerivatives license.

A large plume of white smoke billowed out of a cold storage facility on Friday afternoon, two days after the fire first ignited at the Boyle Heights warehouse.

Residents near the facility on S. Los Palos Street reported smelling came out of their homes to see the smoke and vehicles driving in that direction turned around as it appeared that the fire reignited shortly before 5 p.m.

Firefighters were at the scene dousing the building.

"Due to an expected change in wind conditions, there was a flare-up inside the structure, which was anticipated by crews on scene," the Los Angeles Fire Department said in a statement. "More smoke is currently visible in the area of this incident; however, there is no additional hazard. Crews will continue to flow large amounts of water into the building for an extended period of time."

The fire first broke out Wednesday, prompting an hours-long shelter-in-place order due to hazardous materials, including ammonia.

The South Coast Air Quality Management District early Thursday afternoon extended a particle pollution advisory for an area including Boyle Heights, central Los Angeles, and parts of Northeast LA following Wednesday’s fire.

Early monitoring showed particles were generally present at background levels, AQMD said, but for several seconds at a time, they found increased levels of bromine and chlorine.

“Bromine and chlorine are typically found at trace levels during structural fires and the levels seen were below short-term health-based exposure thresholds,” AQMD said. “Concentrations below this level are not expected to cause adverse health effects. No significant levels of air toxic metals were seen.”

SEATTLE — For days, questions about the health of star winger Christian Pulisic's left calf had loomed large over the U.S. men's national soccer team: After being kicked in the leg during last week's Paraguay game, would he be available in the pivotal second U.S. game of the FIFA World Cup?

In the end, it didn't matter.

The U.S. dominated Friday's match against Australia, winning 2-0 even as Pulisic, who was ultimately deemed unavailable before kickoff, watched his teammates from the sidelines.

The scoring started early when American striker Folarin Balogun streaked down the left side of the field and powered a pass into the penalty area, where Australian defender Cameron Burgess booted it into his net for an own goal in the 11th minute.

"I want to be dangerous. I want to create opportunities. And it might not always be myself that scores, but if I can force an error that gives us the lead, for me that's like a goal as well," Balogun said. "It was a special start to the game to give us the momentum, and then I think we carried it out."

The U.S. added a second goal when defender Alex Freeman knocked in a header just before halftime. The chippy match resulted in seven total yellow cards, three for the U.S. on defenders Antonee Robinson and Chris Richards and Balogun.

After the game, U.S. head coach Mauricio Pochettino praised his team and their approach. "We build the victory in our attitude," he said.

The win guarantees that the U.S. will advance to the knockout stage of the tournament, and it puts the Americans in the driver's seat to win Group D. That would set up the team for a more advantageous path through the knockout round, which begins Sunday, June 28.

Cristian Volpato #20 of Australia and Weston McKennie #8 of the United States battle for the ball during the team's World Cup Group D match on Friday in Seattle.

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About 90 minutes before kickoff, Pochettino told Fox that Pulisic would be unavailable due to the nagging left calf injury suffered last Friday. "It is hoped, as soon as possible, [that he] can be ready to be selected again to be part of the team," Pochettino said.

In his place, forward Ricardo Pepi made the start on the left side. For Freeman, his first career World Cup goal was the latest step in a remarkable trajectory for a 21-year-old player who made his first appearance for the U.S. national team just over a year ago. 

It was unclear whether Pulisic would be available for the third and final U.S. group stage game, a match against Turkey set for next Thursday.

Whether that game will matter depends on the outcome of Friday night's Turkey-Paraguay matchup; if Turkey draws or loses, the U.S. is guaranteed the top spot. If Turkey wins, that sets up next week's head-to-head game to determine the group winner.

Turkey, whose roster features stars like Arda Güler of Real Madrid and Kenan Yıldız of Juventus, had been considered by some analysts to be the strongest team in the group.

The U.S. victory over Australia was the second win in the group stage — the first time the American men have done that in a World Cup since 1930.
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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.
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