The Brief

Dennis Block, a prominent Los Angeles lawyer who once boasted about filing thousands of evictions every year, is facing new disciplinary charges from the California State Bar.

Some of the allegations stem from a case LAist covered in 2023, in which Block submitted a filing in eviction court that cited non-existent case law.

Block didn’t appear in court to explain how the brief was created. But legal experts told LAist at the time that the document appeared to have been generated by artificial intelligence, which is known to produce faulty information.

The charges filed last Thursday build on previous charges filed against Block late last year. The new charges allege that by submitting the filing, Block “failed to perform with diligence” and “committed acts involving moral turpitude, dishonesty, and corruption.”

If the charges against Block are proven, the State Bar proceedings could lead to him facing suspension or — in the most serious outcome — disbarment.

Block referred LAist to his attorney for comment on the charges, but they didn’t respond for this story.

The backstory on a ‘fabricated’ court filing

Over the course of nearly 50 years as an attorney, Block established his eponymous firm as a go-to resource for L.A. landlords seeking to evict their tenants. But recent actions by the State Bar have called into question his treatment of clients.

In December, the bar filed a series of disciplinary charges against Block, alleging he wrongly collected “non-refundable” fees, failed to account for client charges and didn’t return property in a timely manner after a client fired him.

Last week, the State Bar filed a new round of charges. Some are similar to the previous allegations. But two of the new counts relate to the 2023 filing, which led to $999 in court sanctions against Block’s firm.

A judge at the time said the filing contained “an entire body of law that was fabricated.”

Lydia Nicholson, the attorney who was defending the tenant involved in the underlying eviction case, said the charges against Block are appropriate.

“Tenants are already so vulnerable in these court cases,” said Nicholson, who works with the Los Angeles Center for Community Law and Action. “And to have that added step of basically just trying to lie to win is even worse.”

The dangers of using AI in court

Ari Waldman, a UC Irvine School of Law professor, said AI tools can be helpful for gathering background information about particular areas of law. But he said lawyers who use the technology to draft and file briefs without critically assessing the results should be disbarred.

Reacting to the new charges against Block, Waldman said, “No responsible lawyer should ever use AI to replace critical thinking, analysis and basic research.”

Daniel Yukelson, executive director of the Apartment Association of Greater Los Angeles, a landlord advocacy group, defended Block. In an email to LAist, he said the disciplinary charges are still only allegations — not proven facts.

“Mr. Block has shown himself to be very knowledgeable of rental housing regulations and he is a wonderful educator and presenter on the complicated regulations our members are forced to comply with,” Yukelson said.

During the 2023 sanctions hearing, an attorney from Block’s firm blamed a recently hired lawyer for producing the fabricated filing. He said she no longer worked at the firm.

But by signing the filing himself, Block vouched for its accuracy to the court, according to the State Bar.

Since the 2023 case, Block has dabbled in other uses of AI. During his regular YouTube briefings for landlords, he has often included imagery that appeared to have been created with AI tools.

He opened one 2025 video with a dance pop song titled, “The Tenant From Hell.” He described it as an “original song by Dennis Block, with a lot of help from artificial intelligence.”

This story first appeared on The LA Local.

After Inglewood systematically violated state law, a judge reminded the city it was required to release records on police misconduct and use of force — but rolled back an earlier ruling that would have required the records to be posted online.

Barring an appeal, the decision brings five years of legal wrangling between the city and the American Civil Liberties Union of Southern California closer to a conclusion.

Inglewood won’t face serious consequences for the pattern of breaking California public records law, but the city must pay attorney fees for the ACLU and Trisha Shanklin, who joined the ACLU’s 2021 lawsuit. Inglewood police fatally shot Shanklin’s sister, Kisha Michael, and Marquintan Sandlin in 2016.

LA Superior Court Judge Amy Carter said the city will not have to proactively post the records online, which another judge had previously ordered the city to do for the next three years. Carter said during a Wednesday hearing that such a requirement would have to come from state legislators, not a judge.

Over the last decade, California lawmakers have expanded the public’s right to access police misconduct and use-of-force records, but Inglewood has thrown up a series of obstacles to that access.

The Inglewood City Council voted to destroy decades of internal affairs records in 2018 just weeks before one law went into effect, though Mayor James Butts denied the move was intended to thwart the law, according to LAist. The LA Times reported that the city nearly did it again in 2021 before being blocked by a judge.

This week’s court ruling found the city has routinely violated the law since then, missing deadlines, sharing incomplete records, and at times, failing to provide any documents at all.

Tiffany Bailey, an ACLU attorney, celebrated the decision and said it streamlines the civil rights group’s ability to get police records from the city in the future.

David Loy, an attorney with the First Amendment Coalition, said the case was a great win for the ACLU.

“These kinds of (public records) delays are not uncommon throughout the state,” Loy said. “I hope and believe this is a signal to other cities to get their house in order.”

Attorneys for the city declined to comment on the ruling, and Mayor James Butts did not immediately reply to written questions from The LA Local.

CalMatters maintains a searchable database of police misconduct and use-of-force records called the Police Records Access Project that includes records from the Inglewood Police Department.

The universe is a strange place — filled with exploding stars, ancient galaxies, and unseen worlds. Now, astronomers are about to get a brand new tool to explore it.

The $4.3 billion Nancy Grace Roman Space Telescope is scheduled for launch Aug. 30. Named for NASA's first chief astronomer, the observatory is expected to reveal new information about the expansion of the universe and discover multitudes of planets orbiting distant stars.

Roman, as it is known to its friends, has an unusual history. About 15 years ago NASA was making plans to build a space telescope that could, among other things, search for exploding stars known as Type 1A supernovas. These supernovas were used as a kind of cosmological measuring stick to uncover a mysterious force called dark energy that was causing the universe to expand — a discovery that earned the Nobel Prize in 2011.

Cosmologist Daniel Scolnic at Duke University says finding more of them would be key to better understanding that expansion.

As NASA was developing plans for this new telescope, a call came in from the government office in charge of surveillance satellites.

"The National Reconnaissance Office reached out to NASA," Scolnic says, "saying, 'We have this amazing satellite sitting in a hangar that we're not using. And what what do you guys think about instead of pointing downwards, we point upwards, and you guys use it?'"

NASA said yes. It took some substantial modifications, but now that old satellite is set to become NASA's next major space observatory.

Scolnic says that the new observatory could fundamentally change the scientific model that astronomers use to understand our universe.

"In the last few years, there have been measurements saying that model might be wrong — and that's something that Roman will absolutely nail, whether the model's right or wrong," he says.

Another goal of the telescope is to spend a month surveying all the stars in the Milky Way galaxy. Julie McEnery is Roman's project scientist. She says even though Roman has broadly the same sensitivity and sharpness of vision as the currently orbiting Hubble Space Telescope, its design lets it do things much faster.

"That one month of observations to survey our Milky Way galaxy would take about a century with Hubble," says McEnery.

Instead of focusing on a single object, Roman is designed to make catalogs of large swaths of the sky, and McEnery says these catalogs will be available to everyone, not just academics.

"You can be a teacher in a high school in Kentucky and your students have the opportunity to see Roman data at the same time as a professor in Princeton," she says.

One professor eager to get his hands on Roman data is Scott Gaudi at The Ohio State University. Along with colleagues, Gaudi developed a technique for detecting planets around distant stars. It's called gravitational microlensing, and it measures the way those planets bend the starlight that passes them by.

Albert Einstein described the idea in 1936 but thought it would be impractical. New technology has proven him wrong — and Gaudi expects Roman will find tons of planets that way.

"We're looking for planets that are just completely undetectable by any other method," Gaudi says. That includes planets at the center of our galaxy, "that are very analogous to our own solar system planets like Jupiter, Saturn, Uranus and Neptune."

In addition to new planets, Roman should also reveal new galaxies, helping astronomers to get a better idea of the large-scale structure of the universe.

But predicting what will be Roman's greatest accomplishments over the course of its five-year mission is a tricky business.

"The history of astronomy really has shown that when you get a new capability, and especially a survey capability, you learn something new, something unexpected," says Wendy Freedman, an astronomer at the University of Chicago. "Often that turns out to be the most exciting part of a new facility. So I am completely open to what this telescope will find."

Copyright 2026 NPR

Over the Linda Lindas’ career, talk about the band has often centered around how young they are.

They broke through as tweens and teens when a 2021 performance at the library in Cypress Park went viral after it was posted online, in part because they sounded so commanding for their age. The drummer, Mila de la Garza, was 10 at the time.

Five years and several albums later — Gotta Get Out, their third album and major label debut, just dropped yesterday — the Linda Lindas are outgrowing their old image.

“I do think people still hear 'kid band' when they think of the Linda Lindas,” said Lucia de la Garza, Mila’s older sister and one of the guitarists. “It's like we're not actually really that young anymore.”

Eloise Wong and Bela Salazar of The Linda Lindas perform during Riot Fest at Douglass Park last year in Chicago.

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It’s been eight years since the sisters joined cousin Eloise Wong and family friend Bela Salazar to play a local music fest. What was a one-off gig turned into a real band that always seemed to have homework to do.

“We'll play a show and then go backstage and finish an essay,” Lucia said.

“Almost like we're Hannah Montana,” Mila said.

“Without the secret identity,” laughed Lucia.

Then came the library video, a record deal with punk label Epitaph and their 2022 debut album Growing Up. 

They started touring the world opening for their heroes like Green Day and Paramore. (Paramore frontwoman Hayley Williams is featured on the single “Closer.”)

And as of this summer, more big leaps: They signed with Warner’s Reprise imprint, and all but Mila have graduated high school.

As they’ve grown, so has their songwriting.

Where they used to write individually, for their new album, they holed up in L.A., Long Beach and Palm Springs to write in the same room from the beginning. No phones allowed. Just riffing.

“We believe in each other and each other's ideas so much that we were kind of just pushing each other to go for it,” Lucia said. “What if we added synth here? What if the drums dropped out?”

By the end of the sessions, they had amassed about 30 songs and the 12 tracks on the album were split evenly between the three writing locations, produced by the sisters’ dad, Carlos de la Garza, who’s worked with Paramore, Bad Religion and Best Coast. (He actually started working with Best Coast after meeting them when the duo came to a Linda Lindas rehearsal in the family's backyard, according to Lucia.)

The album moves beyond straight-ahead punk, dipping into new wave, power pop and hardcore.

That range tracks with the members’ own eclectic listening habits. Lucia has been listening to indie artists Blondshell, Francis of Delirium and Indigo De Souza. Mila cited Julien Baker’s Little Oblivions, while Eloise, who plays bass, has been digging into local hardcore punk like Special Forces from San Luis Obispo, not to mention the Heated Rivalry soundtrack. Guitarist Bela has been listening to pop from Hollis and Mexico's Belanova.

Meanwhile, their lyrics tackle the issues staring down their generation, from climate change to fascism and economic injustice.

On “Blood on Our Hands," Eloise belts out an indictment of not just the government but the complicity of bystanders.

Eloise said the song isn’t just about calling people out about the state of the world, but “making everyone think about all of the little things that we can do to try and make it better, you know, and make it more sustainable, and make sure that people can live.”

Mila de la Garza of The Linda Lindas performs during the Bumbershoot Arts and Music Festival in Seattle last year.

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Elsewhere on the album, like on the single “Burning Out,” the band reflects on that strange space between youth and adulthood and seeing friends move into new stages of life while wondering if they’re being left behind.

Whatever uncertainty they may be feeling, the Linda Lindas say one thing is for sure: It’s all about their music now.

Next month, they head out on their biggest tour yet as headliners with dates across the U.S. and Canada.

For a band whose early years involved squeezing in homework between soundchecks, life has simplified in at least one respect.

“It's pretty much all about the band,” Eloise said.

Michael Hyatt was photographing the new L.A. punk scene tearing up Hollywood when he got an offer few would refuse.

It came shortly after the band X released their seminal 1980 debut, Los Angeles. Singer Exene Cervenka and bassist John Doe had liked a photo Hyatt had taken of the Plugz.

“They asked me if I would photograph X,” Hyatt said.

For the first half of the ‘80s, Hyatt photographed X wherever he could. On their first national tour where he also drove the jury-rigged tour van. At the Whisky just months after the unexpected death of Exene’s sister. On a downtown L.A. rooftop, days after the band’s big Greek Theatre show.

Exene.

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“I never pose people. I find a location, a backdrop and just let them be human beings,” Hyatt said. “People reach a point where they forget the camera —  that's when the good photographs happen.”

Hyatt’s works are compiled in a new book, X: On the Road & At the Crossroads, 1980-2024, with an accompanying exhibition opening at Beyond Baroque on Sept. 5 — where Cervenka will join Hyatt for a reading.

Exene Cervenka and John Doe in the Louisiana countryside in 1980.

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A band built on chance encounters 

X’s story reads like a constellation of happenstances hurtling toward inevitability. In 1976, Doe and guitarist Billy Zoom answered each other’s ads in the Recycler. That same year at a Beyond Baroque poetry night, Doe met Cervenka and saw punk lyrics in her writing. Ray Manzarek of the Doors, after seeing X live, offered that very night to produce their debut album in 1979.

A year later, Los Angeles helped cement L.A. punk, with a sound and sensibility markedly different from contemporaries the Germs and Black Flag.

A release party marked by tragedy

For the album’s release party, Hyatt said, X played two back-to-back shows in April at the Whisky a Go Go. Before they went on stage, Cervenka was told that her sister had been en route to the show when she was hit and killed by a drunk driver.

Three months later, Hyatt took this portrait of the band after another show at the Whisky.

X at the backstage area of Whisky a Go Go in July 1980, three months after the sudden death of Exene's sister.

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“I placed Exene against that plywood panel,” Hyatt remembered. “My goal, maybe on an unconscious level, was to capture the emotion related to the tragedy that happened three months prior.”

The iconic rooftop shot

A photo of X taken two days after their 1981 Greek Theatre show.

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In August 1981, X played in front of a crowd of 5,000 at the Greek Theatre.

“ They had reached the height of their powers,” Hyatt said.

He wanted to capture that zeitgeist. So two days later, he met the group at the rooftop of their rehearsal studio, which Hyatt scoped out at a practice session prior to the big Greek show.

“I went up and I thought, ‘Wow, this is a fantastic spot,’” he said. “Got a little bit of the skyline off in the distance of downtown L.A., but you've got the Roosevelt Hotel right there too.”

After three rolls of film, Hyatt said one shot clearly stood out.

Four decades later, still at the front row

At X's Houston show in 2024, Hyatt photographed a married couple that went on a first date to see the band in 1980.

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In 2024, X went on tour for their final album, Smoke & Fiction. One stop was Houston, Texas.

They’d played in Houston on their national tour in 1980, at a long-defunct punk venue called the Island.

In the crowd at the Island in 1980 was a young couple on their first date. A couple years later, Hyatt said, they got married.

“And there they were, 44 years later, right up front cheering on X — who they saw on their very first date,” Hyatt said.

Still together, wearing matching X shirts.