The Brief

For the record: We have updated the headline of this article to better reflect what happened to displaced participants in the HOPICS rapid rehousing program. We use the terms “eviction” and “evicted” in the article and a Dec. 12, 2023 newsletter based on the common understanding of the word. However, HOPICS’ middlemen were those legally evicted. The clients were displaced from their homes as a result of the evictions. We regret if that was not clear to readers. 

HOPICS used middlemen to help facilitate the program. The middlemen rented from property owners, becoming the property owners’ tenants. The middlemen then subleased to HOPICS participants. HOPICS subsidized participants’ rent through payment to the middlemen, who were then to pay property owners. As the article describes, when rent was not paid on a timely basis, property owners began eviction proceedings against middlemen. Participants then faced imminent displacement, which we refer to as “eviction.” Legal eviction proceedings were against the middlemen, not the HOPICS clients. As the article also describes, HOPICS arranged for new permanent housing or shelters for most of the tenants facing imminent displacement, however HOPICS could not account for dozens more.

Jesus Mares got a lifeline during the COVID-19 pandemic. Thanks to rental support from one of Los Angeles’ leading homelessness agencies, he had a roof over his head.

He had been bouncing between sleeping in his car and hotel rooms. The taxpayer-subsidized room in a South L.A. duplex provided stability until he could get back on his feet, he’d hoped.

It went well for a while, he said. Then Mares quickly noticed things were amiss with the nonprofit, known as HOPICS. He went through several case managers who Mares said didn’t come to see him.

Then came the eviction notice. HOPICS, which has received about $140 million in Los Angeles city, county, state and federal funding over the last three years for a program known as rapid re-housing, was months behind on paying his rent, according to Mares and his former landlord.

“They basically told us to get out of the building and they locked the building up,” Mares said.

All together 306 people lost taxpayer-funded homes in South Los Angeles as a result of HOPICS’ failure to pay rent on time, the nonprofit said. While more than half were then placed in permanent housing or sent to temporary sites, HOPICS and Los Angeles housing authorities did not say what happened to 119 people.

A CalMatters review of the program, based on hundreds of pages of documents and dozens of interviews, shows that the prominent Los Angeles nonprofit repeatedly ignored explicit eviction warnings from some landlords, did little to vet the middlemen it entrusted to execute the program, and took on far more clients than its case managers could serve.

CalMatters interviewed three participants who landlords said were evicted from HOPICS-funded houses, and they reported ending up back on the streets or living in their cars.

Brenda Wyatt outside of her temporary housing location in Los Angeles on Oct. 4, 2023.

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The eviction mess underscores weaknesses in California’s strategy for addressing its biggest crisis, homelessness. Gov. Gavin Newsom’s administration has allocated more than $20 billion to fight homelessness, but the state’s homeless population surpassed 170,000 people in 2022. Like HOPICS, many government-funded services provide only temporary housing, depend on too few case workers and must compete for units in an already-tight rental market.

Leaders of the nonprofit, whose formal name is Homeless Outreach Program Integrated Care System, say they were overwhelmed by the sudden influx of emergency COVID money during the pandemic to run what’s known as rapid re-housing, a popular local rental assistance program.

To execute the program, HOPICS used middlemen – many of which were newly created nonprofits – to rent out rooms to the unhoused. However, HOPICS’ leaders often didn’t pay those brokers on time, they say, because they needed to review and approve rent bills sent by the very landlords they had chosen to work with. Some of the invoices, they say, had questionable charges.

“We didn’t have the habit of Google searching everybody’s names, and probably that’s a simple fix,” said HOPICS deputy director and former U.S. Rep. Katie Hill. “This is a lot of money that has gone towards a program that has shown that it can house a lot of people. It’s not perfect in any way, shape, or form, and it’s evolving, and we’re learning as we go.”

The federal government sent $100 million in emergency aid to Los Angeles County to address the homelessness crisis during the pandemic, along with another $220 million to six cities in the region including L.A. The Los Angeles Homeless Services Authority then turned to organizations like HOPICS, which is a division of a larger LA nonprofit, Special Service for Groups, to carry out the programs. Between 2019 and 2023, HOPICS placed 3,100 homeless people into permanent housing through rapid rehousing programs, according to the nonprofit.

Annual revenues at Special Service for Groups surged from $84 million in 2018 before the pandemic to $149.1 million in 2022. It also gets rapid re-housing funding from Measure H, the 2017 Los Angeles County sales tax and a mix of federal, state and city funds.

While the rush of COVID funding has ended, HOPICS continues to deal with the fallout of the evictions. It still hasn’t paid all of the rent the landlords claim they are owed, it acknowledges. And, separately, three Los Angeles motels sued HOPICS and its parent late last year, alleging it stopped paying rent for clients who were living at the motels. The nonprofit settled the case early this year, though the terms weren’t disclosed.

HOPICS Director Veronica Lewis said her organization can be late with payments because of its efforts to verify that its clients are actually living in the units.

“The notion that we just don’t pay, it’s just absurd,” she said. “We want to be good stewards of public funds.”

CalMatters sent the Los Angeles homeless authority questions about how it funds and oversees HOPICS. The homeless services agency’s spokesperson issued a statement that didn’t answer several questions, including how many clients got into rapid rehousing programs as a result of pandemic funding and how many have returned to homelessness after leaving rapid rehousing programs. The agency also did not comment on whether it’s a common practice for homeless services nonprofits to pay rent late.

The authority’s “role is to ensure service providers receive the funds necessary to bring our unhoused neighbors home … ensure the program is performing efficiently, and work with the provider to identify any performance concerns,” the spokesperson said.

“It’s about time somebody stepped up and exposed what HOPICS is doing,” said Demario Swait, a 59-year-old who was evicted. The nonprofit gets a grant “to make sure that people are housed, and people are not being housed. And I’m one of them.”

Swait and Mares said they are still trying to pick up the pieces from the HOPICS evictions. Swait is now in temporary housing with a different agency, looking for permanent housing, he said.

Demario Swait at Leimert Park in Los Angeles on Sept. 28, 2023. Photo by Adriana Heldiz, CalMatters

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Mares packed his things and went back to living in his car, he said. “Right now, I’m at my family’s house trying to get it together, trying to find a new spot.”

Why HOPICS turned to middlemen

A Vietnam veteran who had slept on Skid Row founded HOPICS in the 1980s as a one-man operation working to find housing and services for homeless people.

Today it’s one of the county’s largest homeless services organizations with a contract from the L.A. Homeless Services Authority to coordinate shelter placements and other services in South L.A. To lead the organization, Lewis was paid $261,000 last year, according to the organization’s tax records. She also sits on the state council on homelessness, which Gov. Newsom has charged with developing policies to prevent and end homelessness in California.

HOPICS is supposed to help unhoused people find a place to live, pay a portion of the rent for up to two years and provide a wide range of social services, like employment training and assistance applying for public benefits, according to its contract with Los Angeles County.

Ideally, clients gradually contribute more toward rent until they’re able to stay housed on their own, according to the Los Angeles County Homeless Services Authority.

Landlords are often reluctant to rent their properties to people receiving government rental assistance, whether due to bias or an aversion to red tape.

Property owners who wanted to help house the homeless “don’t necessarily want to be landlords to our population,” Lewis said, and many didn’t want to handle multiple leases for clients sharing one house.

So, instead, HOPICS turned to middlemen. These brokers would rent properties and then sublease rooms in those properties to participants.

Housing 1BY1 Co-Founders Dejon Dixon and Norris Jones in Los Angeles on Sept. 28, 2023. Dixon and Jones say a Los Angeles-based nonprofit owes them hundreds of thousands of dollars in unpaid rent for formerly homeless people.

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CalMatters interviewed five brokers who got into business with HOPICS by renting homes from a large property management group called Ocean Properties, Inc. Ocean Properties describes itself as a development company that flips “small inadequate homes” into larger duplexes. It sells the multi-unit houses to investors and often remains as property manager, renting out more than 2,000 affordable housing units across South L.A.

HOPICS does not lease houses from Ocean Properties directly.

Instead, it goes through people like Norris Jones. He created the nonprofit Housing 1By1 in August 2020, to help with Los Angeles’ housing and homelessness crisis, he said. A month later he welcomed his first HOPICS tenant. Jones and his partner, Dejon Dixon, sublet more than a dozen units, housing more than 80 people for about $950 a month for a private room. They charged $2,800 as a security deposit, according to several signed lease agreements.

Jones and three other brokers said HOPICS would go months without paying rent, causing them to fall behind on paying the property owners. As a result, he says he owes Ocean Properties more than $200,000 in rent and fees. He said he doesn’t understand how a company getting paid by the government “got us in a position where we can’t pay the rent for the people they house in our homes.”

HOPICS officials say Jones has overstated how much it owes him and, in some cases, said he’s submitted invoices far too late to get reimbursed. Still, in a February email to Jones, HOPICS acknowledged owing him $135,000 for 2022 and “upwards of $90k” for 2023.

Now, Jones said HOPICS has paid him some of the unpaid rent. He’s in talks to settle with the agency over the rest of the money he says he’s owed.

“I spent all my money to do this,” Jones said.

In the rush of new funding, HOPICS acknowledged it went into business with some brokers without doing so much as a Google search. For instance, the agency leased 24 locations from Donye Mitchell of LA Supportive Housing. CalMatters found that Mitchell left federal prison in 2014 after serving a sentence for defrauding California’s Employment Development Department.

A property owner in June filed a lawsuit against Mitchell and his business partner in Los Angeles Superior Court, alleging they owe more than $77,000 in back rent for a site his nonprofit used to house homeless people, court records show. Neither party has responded to the suit.

One of several properties managed by Norris Jones and Dejon Dixon, co-founders of Housing 1BY1, in Los Angeles on Sept. 28, 2023. Photo by Adriana Heldiz, CalMatters

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Mitchell did not respond to voice messages left with his business partner or emails from CalMatters for this story.

HOPICS officials said some landlords shuffled residents around the units against program rules, and failed to tell the agency about impending evictions until the last minute.

Herbert Hatanaka, executive director of Special Service for Groups, Inc., is personally investigating some of the claims from the brokers.

“There’s missing information,” he said. “We have evidence, for example, clear evidence that there were individuals that were not living in some of those facilities for the time that (the landlords are) billing us for. ”

Overwhelmed L.A. homeless caseworkers

Vetting and paying rent invoices wasn’t the only holdup for HOPICS clients. A persistent shortage of caseworkers contributed as well, former employees told CalMatters.

To have rent paid, rapid rehousing clients must meet with their case managers at least once a month. HOPICS tenants, landlords and former employees told CalMatters that just didn’t happen.

One employee said the agency was badly understaffed because of high turnover and unable to keep up with the number of tenants it was supposed to serve. Los Angeles County requires each case manager to work with up to 25 clients.

“When I signed my acceptance letter, it was for 20 clients, and within 30 days, I had 60,” said Neal Glasgow, a former caseworker for HOPICS who said he left in 2022 after about a year. “I was playing catch-up every month.”

The caseworkers verify that tenants are still living in the units, set tenants’ rent contributions and connect tenants with services.

Glasgow said landlords called him so often about unpaid invoices that some of them became his friends. HOPICS’ leaders acknowledged they didn’t meet the caseworker ratio, citing understaffing in the social services industry.

Several former tenants said they went months without contact from a caseworker, leaving them feeling stranded in temporary placements. Brokers who visited the homes also said their tenants didn’t receive visits from case workers and complained that instead of getting help to become financially stable or get treatment, the clients languished in the houses, sometimes using drugs and having mental breakdowns.

In Los Angeles Superior Court claims, three tenants have said they’d seen 15 or 20 different caseworkers in the two years they were allotted in the rapid rehousing program and still hadn’t gotten permanent housing. A judge ruled in May and June that the agency did not owe them any money for emotional distress and dismissed the case.

The current rapid rehousing system of cost-sharing rent for a couple of years doesn’t make sense to some of the people who once ran it.

“It’s setting (the unhoused) up for failure,” Glasgow said. “You put them in a room that they can’t afford and after the program, they’re gonna end up back homeless, and that’s a lot of money wasted.”

HOPICS officials say they now lease some houses directly from property owners. That practice, known as master-leasing, is a strategy agencies including the L.A. Homeless Services Agency, are increasingly considering.

“It’s basically eliminating that middleman that has too much opportunity for problems,” said Hill, the HOPICS deputy director.

An eviction letter posted in one of the residences where Vincent Osby housed formerly homeless people in Los Angeles on Sept. 28, 2023.

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But they also still house clients in units run by brokers. The nonprofit’s officials said they’re doing more to vet landlords before placing clients in their units, including requiring all future and current landlords to sign stricter, clearer program requirements and asking for references.

“We’re asking more questions now,” Lewis said.

Brenda Wyatt, 58, was kicked out of her room on Sept. 4, she said. Her landlord, Vincent Osby, hadn’t been paying the property owner. He confirmed he couldn’t keep up with the rent but declined further comment.

Osby, who played two seasons of professional football for the San Diego Chargers in the 1980s, leased more than a dozen units to HOPICS clients, HOPICS officials said.

The landlord moved Wyatt to another shared house after he fell behind on rent. She said it was unclear whether HOPICS or Osby was at fault for the late rent payments.

“I don’t know what the hell is going on, excuse my French,” Wyatt said. “That leaves us in limbo. We don’t know what to do. We worry about getting kicked back out on the streets.”

After three years of unprecedented closures that devastated California’s fishing industry, commercial salmon fishing is poised to reopen this spring.

The return comes with a catch: Regulators at the interstate Pacific Fishery Management Council will strictly constrain fishing dates and impose harvest limits for both commercial and recreational fishing to protect the threatened California Coastal Chinook. The council is set to finalize the details this weekend.

It’s not the season the fleet had hoped for after years of closures. But those who survived the shutdowns fear a graver threat: state and federal decisions could reshape California’s water systems and rivers.

“Water policy in California is about to change drastically and irreversibly, and nobody has the energy to pay attention to that,” said Sarah Bates, who fishes commercially from San Francisco. “I am concerned that salmon is going to be (commercially) extinct in our lifetimes.”

For the first time since 2022, Bates was preparing her century-old boat, the Bounty, docked at Fisherman’s Wharf. She ticked off the boat’s needs: an oil change, a hydraulics check, a run-through of the steering system, the anchor. Her fading fishing permit, now four years out of date, still clings to the outside of the cabin.

“Pay no attention to my paint job,” Bates said. “Try not to make my boat look bad.”

Looking at its cracking paint and tangled ropes, Bates — who wrestles waves and weather for a living and uses a fishing float dented by a massive shark bite — seemed a little daunted by the tasks ahead.

Without income from salmon, Bates allowed critical upkeep to lag. “There's been a lot of deferred maintenance,” she said. “I'm actually a little worried about everybody charging out into the ocean in May to go fishing.”

‘A tremendous, avoidable hit’

Salmon is king in California. It’s what keeps the markets and restaurants buying, the industrial-scale ice machines running, the tourists booking charter boats and visiting the coast.

“It’s iconic,” said retired charter boat captain John Atkinson. “We have people who will fish every week for salmon. And for the other species, they come out once.”

But dams, water diversions, low flows and poor ocean conditions have driven decades of decline.

California experienced its driest three year stretch in history from 2020 through 2022 — worsening that burden and causing populations to plummet. Interstate fisheries managers cancelled commercial salmon fishing for an unprecedented three years in a row, and barred recreational fishing for all but a handful of days last year.

The financial damage was severe. California estimated the closures cost nearly $100 million in lost coastal community and state personal income during the first two years alone.

The fishing industry says these numbers vastly underestimate the economic and human costs: Boats went to the crusher, tourists took their money to other states, suppliers went out of business and fishers fled California or the industry altogether.

“This was a tremendous, avoidable hit. We have survived droughts throughout recent history, but none had impacts this drastic,” Vance Staplin, executive director of the Golden State Salmon Association, said in an email.

First: Fisherman’s Wharf in San Francisco on March 20, 2026. Last: Sunlight pours through a window of the Bounty, a commercial fishing vessel, on March 20, 2026. Photos by Jungho Kim for CalMatters Sarah Bates, a commercial salmon fisher, stands at the wheel of her boat, Bounty, at Fisherman’s Wharf in San Francisco on March 20, 2026. Photo by Jungho Kim for CalMatters California has requested disaster assistance from the U.S. Secretary of Commerce. But federal aid has come slowly, and fallen short. The U.S. government has released only $20.6 million, and only for the 2023 closure.

“The entire framework for fishery disasters has to be totally redone,” said U.S. Rep. Jared Huffman, a California Democrat and ranking member of the House Natural Resources Committee. “We need something that is much faster, that is less political, that doesn’t depend on all the vagaries of multiple federal agencies and congressional appropriations.”

Rain, but little respite

The rains returned in 2023 — bringing the flows and cool water young salmon need to survive and complete their ocean migration.

Now, the Pacific Fishery Management Council projects that roughly 392,000 Sacramento River fall-run Chinook salmon are swimming off the coast. These are the mainstay of California’s salmon fishery — and the forecasts are better than last year’s, though still a fraction of the millions that returned historically. But the limited fishing season is not the respite that the industry had counted on.

“We're happy to get some fishing this year,” Staplin, of the Golden State Salmon Association, said, “but if we want to preserve the businesses and families that define California's coastal and inland salmon economies, we need a little compromise and balance in prioritizing water during droughts.”

A plan or a patch?

Two years ago, Gov. Gavin Newsom released a plan aimed at protecting salmon from climate change.

The plan received mixed reactions.

Some scientists and members of the fishing community credited state agencies and the Newsom administration with concrete efforts like hatchery upgrades and cutting-edge genetic fish tagging. One$58 million state and federal effort — the Big Notch Project — connected salmon and other fish to prime floodplain habitat in the Yolo Bypass through seasonal gates.

“Anything that can be done is a help right now,” Atkinson said.

But others say that the strategy papers over policies that rob salmon of the cold water they need. California is built around nature-defying engineering that funnels vast amounts of water away from rivers to supply cities and the state’s $60 billion agricultural economy.

“As soon as it stops raining or snowing, we’re going to be back in the same situation with the salmon season closing,” said Jon Rosenfield, science director at The San Francisco Baykeeper. “If we don’t protect river flows and cold water storage, then we’re not protecting salmon.”

Some of the fiercest fights are over the contentious Delta tunnel and Newsom’s controversial deal with major water users, backed by $1.5 billion in state funding, to overhaul how farms and cities take water from the Sacramento-San Joaquin Delta and the rivers that feed it.

Carson Jeffres, a senior researcher at the UC Davis Center for Watershed Sciences, takes a more moderate view — the effect on salmon will depend on how California agencies manage these projects, but the status quo isn’t an option.

“I just don't see a world where the salmon are prioritized over human water needs — and I think we should plan for it,” he said. “Then that might be a more sustainable place.”

On top of state policies is a Trump administration that called for “Putting People over Fish” and adopted a plan in December to send more Northern California water to Central Valley farms.

State wildlife officials said at the time that President Donald Trump’s actions “run counter” to California’s efforts to improve salmon populations, “harming the California communities that rely on salmon for their livelihood."

California Secretary of Natural Resources Wade Crowfoot acknowledged the state’s finite water supply can’t satisfy everyone’s priorities.

“There’s no shortage of finger pointing by some groups who argue that not enough water is remaining in our rivers for salmon and aquatic habitat, and other groups that suggest that not enough water is being diverted for California communities and agriculture,” Crowfoot said.

“Water management in California,” he said, “involves balancing water across these needs.”

Last year, the Newsom administration announced that nearly 70% of the salmon strategy’s action items were underway, and more than a quarter were already complete.

That’s “crazy math … What is your outcome measure?" said Bates. "For us, our outcome measure is enough fish to go fishing.”

Adapting to survive

In the absence of enough fish, the industry has been piloting new strategies to survive.

Back at Fisherman's Wharf, a few rows over from Bates, Captain Virginia Salvador was getting ready to take a group out to troll for halibut and striped bass. Her French bulldog, Anchovy, wandered the deck between the ropes.

Salvador started her charter boat business, Unforgettable Fishing Adventures, during the salmon shutdown — and had to quickly expand her offerings.

Now, she runs barbecue and barhopping cruises around San Francisco Bay and takes passengers to McCovey Cove during Giants games. She teams up with food influencer Rosalie Bradford Pareja to offer a chef experience. And she still holds down a second job working in a hospital pathology laboratory.

“When you rely on a natural entity for your income, you have to learn how to deviate, pivot, expand,” Salvador said.

Captain Virginia Salvador on her boat, Unforgettable, at Fisherman’s Wharf in San Francisco on March 20, 2026. Photo by Jungho Kim for CalMatters Where the front row of charter boats line the street like storefronts, Bates’ row at Fisherman’s Wharf has the feeling of a neighborhood. One fisherman clambered down the ladder to Bates’ boat, where they swapped great white shark stories. Bates hollered to another neighbor every time a tourist wandered down the dock, bucket in hand, looking to buy fresh crab.

This neighbor, a tattooed and lanky and exhausted fisherman named Shawn Chen Flading, had been out all night. His 12 hour mission to retrieve crab pots turned into a 26 hour ordeal when his throttle cable broke.

At the time Flading bought his boat, before the shutdowns, it looked like a pretty good living.

“A lot of people — the older generation — put their kids through college, bought their homes. And it just disappeared,” Flading said. “I lost basically half my revenue for the past three years straight.”

He tries to fill the gap by advertising on social media and selling Dungeness crab directly off his boat. But the crab season, too, he said, has been disappointing.

Now, salmon fishing is once again on the horizon.

“Whatever limited opportunity we have for salmon, at least we're getting the ball rolling,” Flading said to Bates across the water between their boats, over the San Francisco mix of cars, construction and seagulls. “Without that, we're just stuck.”

Bates, leaning on the railing of her own boat, agreed. “I really understand why people are upset,” she said. “But also, I'm so excited to catch some fish. Even though it's not enough. It’s not even close to enough.”

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

The crew of NASA's Artemis II mission are safely back on Earth after a nine-day mission took them on a trip around the moon and back, sending humans deeper into space than ever before.

To come home safely, the crew — NASA's Reid Wiseman, Victor Glover, Christina Koch, and Canadian Space Agency astronaut Jeremy Hansen — and its capsule had to endure near-record-breaking entry speeds and temperatures up to 5,000 degrees Fahrenheit.

The Orion spacecraft spent 13 and a half minutes falling through the atmosphere, hitting a top speed of more than 30 times the speed of sound.

Orion performed as designed. The capsule's heat shield protected the crew, and a series of parachutes helped the capsule gently splash down in the Pacific Ocean off the coast of San Diego.

With that landing, the mission came to a close, clocking more than 700,237 statute miles, said Artemis II entry flight director Rick Henfling.

Four members of the U.S. Navy Dive team pulled the crew from the capsule. Helicopters plucked them from a raft outside their spacecraft — called the porch — and within 24 hours of splashdown, they'll arrive at the Johnson Space Center in Houston.

"We did it. We sent four amazing people to the moon and safely returned them to Earth for the first time in more than 50 years," said NASA's Lori Glaze, who leads the Artemis programs. "To the generation that now knows what we're capable of: Welcome to our moonshot."

The crew's flight path took them around the far side of the moon at around 4,000 miles above the surface.

The crew made a number of geological observations and took thousands of photos to help scientists better understand what the moon is made of – and where it might have come from.

But perhaps the most profound vantage point came from looking back at home.

"Trust me, you are special, in all of this emptiness," said Glover, "This is a whole bunch of nothing, this thing we call The Universe. You have this oasis, this beautiful place that we get to exist together."

The Artemis II mission was a critical test flight for the Orion spacecraft, which will carry future Artemis astronauts, including those that will venture to the lunar surface.

The crew tested key systems of the spacecraft — its life support system, maneuverability, its heat shield, the toilet. What NASA learns from this flight will set future lunar missions up for success.

"Part of our ethos as a crew, and our values from the very beginning were that this is a relay race," said Koch "In fact, we have batons that we bought to symbolize physically, that we plan to hand them to the next crew, and every single thing that we do is with them in mind."

That next crew will come soon. NASA administrator Jared Isaacman accelerated the Artemis program, charging the agency with launching an Artemis mission each year.

Even before the Artemis II crew splashed down, work had begun at the Kennedy Space Center in Florida to prepare for the next mission.

NASA engineering operations manager John Giles oversees the Crawler-Transporter, the massive vehicle that moves the mobile launch pad, and the SLS rocket that launches Orion, from the Vehicle Assembly Building to the launch site. His team is preparing to move the launch platform for Artemis II back into the Vehicle Assembly Building next week to begin putting together the rocket for Artemis III.

"We really haven't had too much time to relax and reflect on Artemis II, other than thinking what a perfect accomplishment it was," said Giles. "Moving right into Artemis III. No rest for the weary. It's moving on."

A key part of the Artemis III SLS rocket — the core stage fuel tank — is heading to Kennedy Space Center later this month. Parts of the solid rocket motors are already there.

Artemis III aims to launch next year. It'll stay in Earth orbit while testing spacecraft that are designed to land humans on the moon. The following mission, Artemis IV, could bring humans to the lunar surface, for the first time since 1972.

Copyright 2026 NPR

Coachella is the spring break of the music world: a pair of long weekends in the California desert, featuring over 100 acts across eight stages spanning too many genres to count, from vintage groups mounting reunions to the biggest pop stars on the planet to rising talents with viral hits. Nearly the entire event is streamed live via YouTube, starting Friday afternoon, which makes the prospect of catching more acts easier — you don't have to sprint across the grounds of Indio's Empire Polo Club to make it from one set to the next. But even if you're watching from home, the prospect of mapping your route through the weekend in order to catch the greatest possible collection of live experiences can be overwhelming.

To help, three members of NPR Music's team have sifted through the lineup to identify a day-by-day guide. Below, you'll find must-see acts and recommendations to ensure you catch the artists you should prioritize when set times conflict. (Note: All set times listed below are Pacific.)

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FRIDAY

Plan by Dora Levite

Must see:
"Young millionaire, man, I feel like Weezy," says fakemink on his recent EP The Boy who cried Terrified ., a ramp-up to his upcoming album. The 20-year-old London prince of SoundCloud rap has racked up enough well-deserved hype through a steady stream of excellent hyperpop singles and star-studded cosigns (SZA, Drake, Frank Ocean, Ecco2K) to sustain a massive North American tour bookended by Coachella on one side and Lollapalooza on the other.

Naturally, fakemink's hype has sparked a slew of online discourse, which has seemingly had the effect of splitting his fan base in two: day-one devotees who insist the rest of the world is late, and new appreciators who feel their precious attention is what brought him to the global sphere. Regardless of where you fall, this is the must-see set of the day — a chance to hear some of his very best music and to figure out, if you even care, where you stand in his fandom.

Day plan:
The best way to prepare yourself for a day at a music festival is to establish your stage loyalties early. Start with Doom Dave's DJ set at 1 p.m. at the Sonora stage, then release all your pent-up festival anxiety with a cathartic scream when Las Vegas screamo band Febuary takes over.

At 2:10 p.m., I'd watch the Cahuilla Bird Singers and Dancers at the Gobi tent, a Coachella staple for the past few years. At 2:50 p.m., the pop star of the hour, Slayyyter, comes on for her first show with a live band since her excellent new album WOR$T GIRL IN AMERICA. Head back to the Sonora stage at 3:40 p.m. to catch the majority of Wednesday's set — the North Carolina band released one of the greatest rock albums of 2025 and is a guaranteed stellar live show.

After that, things get complicated. Start with Lykke Li on the Outdoor Theatre stage at 5:20 p.m.; last time she played Coachella in 2015, she was a festival highlight, and now with new music on the horizon, she's likely to feed the nostalgia the festival loves and bring some more sparkling pop. Head over to Mojave no later than 5:50 to hopefully see Central Cee close out his set with "Sprinter" (cross your fingers for a Dave cameo). Before Dijon starts at the Outdoor Theatre at 6:40 p.m., you'll have time to see the first bit of CMAT, a fresh face in country-tinged theatrical pop, on the Gobi stage.

Next, of course, is fakemink — the buzziest name of the day. 7:20 p.m. on the Gobi stage.

From there it all falls into place: Turnstile (8:05 p.m., Outdoor Theatre, bound to be a great energy boost), Sabrina Carpenter (9:05 p.m., Main stage, every person should see "Manchild" live once in their life), Ethel Cain (10:35 p.m., Mojave tent, the Coachella haunting experience), and finish the night with Blood Orange (11:55 p.m., Mojave — maybe recent collaborator Brendan Yates of Turnstile will skip over from the Outdoor Theatre to join the fun).

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SATURDAY

Plan by Sheldon Pearce

Must see: 
There is something thrilling about watching Alex G strap on an accordion mid-song for "June Guitar," from last year's Headlights, during a gig, and that alone might be worth the price of a Coachella ticket. (OK, probably not, but definitely worth seeing on a livestream for free.) The only thing preventing the DIY king turned major-label convert from being the can't-miss performance of Saturday is a last-minute addition: 2025 Rock Hall inductee Jack White, who joins the first weekend as a surprise set at the Mojave tent. He likely won't play "Seven Nation Army" — so what. You don't even really have to like his last few albums to appreciate him live. It's the one forum where his finicky guitar ways always pay off big — he will grab three to four axes, rotate through them across the set, and shred like he's playing to scrape together bus fare out of Indio.

Day plan:
To get the best Saturday experience, start your stream at 2:40 p.m. with the first 20 minutes of Blondshell's set at the Outdoor Theatre before flipping over to catch Jack White in the Mojave tent.

Stretch your legs, grab a bite, walk the dog, then tap in for Ecca Vandal, a South African-born, Melbourne-raised punk-rock rapper who plays the Sonora stage at 4:20 p.m. Hit Alex G (5:10 p.m., Outdoor stage) and the gripping (and polarizing) band Geese (6:15 p.m., Gobi) back to back.

You can opt in or out of best new artist Grammy shortlister Sombr's 7:05 p.m. set at the Outdoor theatre — maybe you want to see what all the hype is about or maybe you need to step away from the screen for a spell — before embracing the exuberant Afropop pioneer Davido (7:50 p.m., Gobi).

In the first major conflict of the day, catch PinkPantheress at 8:55 p.m. in the Mojave tent instead of The Strokes over on the main stage; sure, she's nostalgic for the era the band got famous in, but her time is now, post-Fancy That? and her Alysa Liu cosign. If you're really yearning for post-punk revivalists from NYC's aughts indie scene, have no fear: Interpol is on at Mojave right after. Then stay up late for whatever Swag hijinks Saturday headliner Justin Bieber has planned for the main stage.

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Matt Winkelmeyer

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Getty Images

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SUNDAY

Plan by Anamaria Sayre

Must see: 

My friends: Little Simz. This something-for-everyone artist who retains her own unmistakable flair has graced the desert stage before, appearing in tiny print on the 2019 poster and making a guest appearance with Gorillaz in 2023. On Sunday, the U.K. rapper is back with space to release the full Simz flow on a much larger stage.

Simz has always had a gift for taking a live opportunity to hit you over the head with her rapid-fire flow. She unleashes venom with impressive control and is always certain to mix equal parts slam and R&B. In this late afternoon solo slot, she could have an opportunity to fill out her set with a tight live band or maybe sneak in some strings, all the better to represent a sound that gets bigger and brighter with each new record.

Day plan:

The desert is a marathon, not a sprint. You've made it to Sunday (whether on the ground or virtual) so you're well-versed in pacing. We have to start out slow and maybe a little sad, so first stop is Samia (playing the Mojave tent at 3:15 p.m.), leading directly into Little Simz on the same stage.

From there, keep the energy up by hopping over to Clipse (5:15 p.m., Outdoor Theatre) for what's sure to be a performance as gripping as their off-kilter beats. Do a quick flip halfway through to make it over to the Sonora stage by 5:50 p.m. for the last half of Los Retros. It's sure to be sonic whiplash, given that these young romantic crooners bring living room vibes, but it's worth the sprint, and anyway, by this point in the weekend you're a pro at juggling disparate sounds. When that's over, if you wanna lean into the mood shifts and go for one more heart-rate spike via hardcore cleanse, you can just make the last 15 minutes of Suicidal Tendencies back at the Mojave tent.

Take a little breather, get some sustenance, and hop back to it for some straight-from-Norway dance floor flair with Röyksopp. If you're watching the live stream, you may have to skip the Norwegian gathering (Yuma stage isn't currently included on the YouTube schedule) and trade it for a bumping party closer to home — Georgia-bred rapper Young Thug on the main stage.

Now we're sprinting to the finish: You'll split time at a pair of worthwhile overlapping sets by starting with avant-garde English singer FKA twigs (innovation is twigs' most tried and true mode of being, so there's certain to be something we've never seen before), and (if you can tear yourself away before the end) moving on to catch the end of Chicago's own French Police. Close out the night on the main stage, starting at 9:55 p.m. with the first Latina to ever headline Coachella, la bichota herself, Karol G.

Copyright 2026 NPR

It was the end of an era for a sign of the times.

On a rainy March day in 1999, a 70-foot billboard perched at the doorstep of the Sunset Strip was taken down and trucked away. That spot on Sunset Boulevard and Marmont Lane had long been the home of the rough-hewn, lasso-toting Marlboro Man — so much a fixture it became part of the glitz and glam of L.A.

"It was such an iconic ad — such a tall billboard with this very handsome image up there," said John Heilman, current and then-mayor of West Hollywood. "Right there by the Chateau Marmont and near a lot of music venues that we have up on Sunset."

Billboards along the Sunset Strip, including one for Marlboro, in December 1985.

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Paul Chinn

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That's how I came to know about these larger-than-life Marlboro billboards, going to the Roxy and the Whiskey to see shows, and to the Sunset Tower Records for music in the 1990s. I didn't know it at the time, the image apparently changed every couple of years, but the vibe was so consistent it felt like one, long seamless spell.

 "When you came in on Sunset, that is what you saw," said Neil Ford, head of sales for central U.S. and the West Coast at Big Happy, a digital and mobile ad agency based in Chicago. "It really captured what out-of-home [advertisement] was at that moment, what it meant."

The Marlboro billboard on Sunset Boulevard.

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Elisa Leonelli

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Ford said the campaign was groundbreaking — advertising at its most effective.

"You think about that image of the Marlboro Man. It was a different size, it had presence and it captured your attention," Ford said.

It was a gamechanger for Philip Morris. Sales for Marlboro hit $5 million in 1955, a more than 3,000%  increase a year after its debut.

In other words, it attracted more smokers.

 "It was obvious that the image of the rugged Marlboro Man encouraged generations of men to smoke," said Paul Koretz, a former West Hollywood council member who was at the sign on that March day to celebrate its fall.

The total pivot

Hypermasculinity aside, Marlboro was originally marketed to women as a luxury brand peddling a mild flavor when it was introduced in the 1920s.

The pivot came three decades later, when the company was looking for a way to sell men on filtered cigarettes, long considered effeminate and less flavorful.

Enter Chicago ad man Leo Burnett, who engineered what many consider one of the greatest brand reinventions of all time by creating a new series of mascots — not just butch cowboys, but tough-as-nail sailors, hunters, businessmen, sportsmen, writers.

At the end, the cowboy won out, becoming the brand's reigning Marlboro Man.

" They brought this masculine symbol — image, visual — and really re-created what Marlboro as a brand meant," Ford said. "And it just was one image, there was very little copy. It had the logo on it. It was its own creation at the time."

The campaign propelled Marlboro to the top of the domestic industry by the 1970s, even as the toll on public health from the use of tobacco products racked up.

The Centers for Disease Control estimates that some 480,000 people in the U.S. die every year from cigarette smoking, including exposure to second-hand smoke. At least four actors who portrayed Marlboro Man died from smoking-related diseases.

In 1971, the U.S. banned cigarette advertising on television and radio. Brands then shifted to other mediums, in particular billboards.

The Sunset Strip

A street view looking west from the northern side of Sunset Boulevard near Chateau Marmont at night. In the background is the billboard for Marlboro.

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Carol Westwood

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The 1.7-mile stretch of Sunset Strip in West Hollywood has never been a stranger to grabby billboards. In fact, it was where the medium became art.

"It's always been known for very creative advertising," Heilman, West Hollywood’s mayor, said.

Its golden era was arguably the 1970s, when giant, hand-painted rock ‘n’ roll signs lined the Strip, a veritable checklist of who’s who in the music world.

Various billboards on the Sunset Strip and Horn Avenue during a full moon in June 1980.

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Roy Hankey

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The phenomenon started in 1967, with Elektra Records taking out a billboard to promote the debut album of a little-known local band called The Doors.

Two years later, The Beatles’ "Abbey Road" appeared, followed by Led Zeppelin, Joni Mitchell, Bob Dylan, The Rolling Stones and Bruce Springsteen.

The era came to a close in the 1980s with the advent of MTV, which changed the playbook of music marketing, says photographer Robert Landau in his book, Rock 'n' Roll Billboards of the Sunset Strip.

"Other types of billboards focusing on the entertainment industry were very popular," Heilman said. "A lot of the new movie releases, new album releases, new product releases."

And the Marlboro Man stood amid this hit parade in one of the most commanding spots on The Strip since at least the late 1970s.

"As I recall, at one point they actually had steam coming out of it to simulate smoke," said Heilman, who has lived in West Hollywood for more than four decades.

Night view of large billboards along Sunset Strip circa 1980.

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Roy Hankey

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Los Angeles Photographers Photo Collection / LAPL

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Billboard ads along Sunset Strip in November 1985.

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Paul Chinn

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Los Angeles Herald Examiner Photo Collection / LAPL

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The billboard predates the incorporation of West Hollywood as a city in 1984. Helping to lead the cityhood efforts was Koretz, who went on to become a City Council member for West Hollywood before serving on the state Assembly and the Los Angeles City Council.

"I actually lived near the Sunset Strip, so I thought about it every time I drove by," he said of the Marlboro Man ad. "It was one of the most effective symbols of tobacco marketing."

Both his parents, Koretz said, were heavy lifelong smokers who died from the addiction.  As a lawmaker, Koretz led a number of anti-smoking efforts, including a smoking ban in restaurants in West Hollywood — as well as a near total ban on tobacco advertising in the city.

Large billboard of the Marlboro Man, located on the Sunset Strip at Marmont Lane in West Hollywood, circa 1985.

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Carol Westwood

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Los Angeles Photographers Photo Collection / LAPL

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That ban was passed in the final months of 1998, just before a settlement agreement between the nation's biggest tobacco companies, including Philip Morris, and dozens of state attorneys general. The $206 billion deal settled lawsuits filed by the states to recoup health care costs for smoking-related illnesses. It also banned youth marketing, as well as outdoor advertising.

As a result, Los Angeles's most famous Marlboro Man stepped down on March 10, 1999 — about a month before the official removal deadline.

That day, Koretz held a news conference to send the sign off. He said not everyone was happy to see the landmark go. But the ban, among a slew of other anti-smoking policies, have made an impact.

Last year, the American Cancer Society reported cigarette smoking among U.S. adults dropped from  42% in 1965 to 11% in 2023.

" It was always controversial. There are always people that didn't like it," Koretz said of the billboard ban. "This is largely a success story."

Shortly after, a new billboard went up in the place of the Marlboro Man on Sunset.

It was still a cowboy, looking eerily similar to its fallen predecessor, but with a limp cigarette hanging from his mouth.

Instead of Marlboro, it read, "Impotent."