The Brief

For all the crazy game schedules, relocations, and years of splitting the court with their rival team, the L.A. Clippers finally have a place to call home.

The basketball team’s shiny new $2 billion Intuit Dome officially opens today, with a Bruno Mars kickoff concert. According to Clippers owner and billionaire Steve Ballmer, “fans and players together deserve the ultimate home court. You’re going to have it here in Inglewood.”

Here’s everything there is to know about the Intuit Dome — how to get there, what’s inside, and what's on the menu before the inaugural home game on Oct. 14.

Bruno Mars performs the Intuit Dome's inaugural concert.

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Brian Feinzimer

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Getting there

The Intuit Dome is located next door to SoFi Stadium between the 405 and the 110 freeways. Once you’re there, leave your car at the main parking structure on Prairie Avenue and 102nd Street. It connects directly to the Dome’s plaza entrance with a pedestrian bridge.

If you aren’t on four wheels, don’t worry. Intuit is surrounded by 10 bus stops. The Metro 117, 211 and 212 buses will all get you within a short walk.

Refik Anadol 's digital artwork, 'Living Arena,' looms over a public basketball court at the Intuit Dome.

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When you arrive

Once you enter the plaza, you’ll see the massive, paneled dome. It's one of the world’s most expensive arenas, and it shows. It's designed to look like the net of a basketball hoop, and at night, it’ll be lit up with thousands of lights that move in animated sequence, bringing the structure to life.

But wait! Don’t be so quick to get to your seat just yet. There’s a ton to do in the outdoor plaza before the game. Looking like something out of Dune, it’s bordered by Roman steps and will include two bars, a restaurant, and a 5,000-square-foot team store. The entrance is anchored by a full-sized regulation basketball court — open for public use — with a screen that stretches key-to-key.

So have a drink, grab a jersey, or catch a pickup game before letting the professionals take the rock.

Kyungmi Shin’s mural, 'Spring to Life,' is one of six public art installations at the Intuit Dome.

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Courtesy Los Angeles Clippers

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The Clippers spared no detail in sourcing six public art installations by local artists for the plaza. Many of the pieces serve as a reflection of the city. The digital artwork "Living Arena" of Refik Anadol uses flight information from LAX and Inglewood weather data. "Cultural Playground" a mural by Michael Massenburg captures LA’s cultural identity, and Kyungmi Kim’s stained glass mosaic,-"Spring to Life," draws inspiration from Centinela Springs, an ancient water source that supported the Tongva people. At the entrance of the dome itself, you can’t miss Glenn Kaino’s “Sails,” a giant clipper boat that recalls the origins of the team’s name. And of course there's the graphic motion of the Dome itself, which comes alive thanks to Jennifer Steinkamp’s "Swoosh."

Under the Dome

Now comes the real fun. Once you’re through the gates of the Dome, you’ll see the indoor concourse lined with thousands of framed jerseys. There's one for each high school team in California, so try to find your alma mater on the way to your seat.

The Halo Board at the Intuit Dome in Inglewood is lit up for the first time at its unveiling July 19.

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On the inside of the arena, watch where you’re going. You’ll likely be distracted by the 40,000-square-foot double sided Halo Board dominating your view. That's a full acre of a quarter billion LED lights. If you still can't visualize that, just imagine 4,000 60-inch TV’s floating in a ring above your head. No matter where you sit, you’re going to feel like you’re hovering over the court, and you won’t have to squint to catch replays, player stats, or fan-cams.

The inspiration for Intuit comes from an unlikely source — an 87-year-old calculus teacher in Detroit. Jerry Hansen was Ballmer’s math teacher and football coach in high school. He gave Ballmer the idea behind Intuit Dome.

“He said ‘Don't forget the real fan. Don't forget the folks who sit up high. Don't make it all about the folks who are just paying a lot of money,’ and that really meant a lot to me,” Ballmer said at a media event last month.

Settle in for the show

Once you’re at your seat, the coziness of the stadium might surprise you. That’s because a seat in row 20 is about a half-court closer to the action than it is at the Crypto.com arena.

The arena offers the most leg room in the NBA, whether you’re sitting court side or in the upper bowl. Each seat has a USB port to charge your phone, a built-in controller to play games on the halo, and a decibel meter that gauges the movement and sound of each individual fan. The loudest and rowdiest will be rewarded with discounts on food and merch.

When you get to your seat, make sure to scream and stomp until you turn blue. If your decibel levels are high enough, you’ll get a notification on the Clippers app that you earned half-off on an L.A. street dog, or a Kawhi Leonard bobblehead, for example.

K-Town Chicken and waffle fries at the self service concession area at the Intuit Dome.

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What to eat and where to get it 

The concessions at Intuit are fully automated, and grab and go markets are everywhere. You'll just pick what you want from a buffet and walk right out. Tap your phone at the gate to check out, or you can pay with lung power by cashing in your well-earned discount through your Clippers account.

The entire journey was designed to take two minutes or less, and there are 200 shot clocks stationed around the Dome so you don’t miss a play.

Solar Panels atop the Intuit Dome in Inglewood generate power for the fully electric arena.

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A net-zero stadium

After buying the Clippers in 2014, Ballmer made the decision to build a new, fully carbon neutral home court for the team before the 2024-25 NBA season, when their lease at Crypto.com arena was set to expire.

To pull that off, the Dome was blanketed in solar panels which generate most of its energy. What it can’t produce, the Clippers purchase from renewable sources, powering everything down to the electric cooking equipment. Plus, the arena is “naturally acclimatized” so as to use less energy on cooling. The team even bought 26 fuel-friendly tugboats for the Port of Los Angeles to offset emissions.

“We actually took carbon dioxide out of the environment and put it into the concrete foundation in this building,” Ballmer told LAist.

How to get tickets 

Tickets aren’t on sale just yet for the upcoming NBA season, unless you’re planning to buy a season membership. Single game tickets will likely be available for purchase later in August.

You can check out the Intuit Dome website for this season’s concerts. It’ll kick off this week with back to back Bruno Mars shows. Heavy hitters Olivia Rodrigo and Usher are scheduled to perform in the coming months.

Your trash, or the place where it ends up, is one of the most serious contributors to global warming. After livestock, landfills are the second-largest source of methane emissions in California, responsible for more than 20% of the state’s output.

That’s why the California Air Resources Board took action Thursday to monitor and capture landfill gases.

Methane is a potent greenhouse gas that is generated from the breakdown of waste. Even though it’s a short-lived climate pollutant compared to long-lasting carbon dioxide, it severely exacerbates human-caused climate change.

The new rules will eventually require landfill operators to take action when a satellite or airplane detects a methane leak, improve routine leak monitoring and reporting and mandate stronger action on recurring issues. The protections will add to a suite of regulations the state passed in 2010, which made California the first state to develop stricter standards than the federal government.

“This is another example of California’s leadership in reducing emissions and harmful climate-warming pollutants across all sources. With these updates, California will be able to more efficiently and effectively monitor methane sources to detect and remedy leaks quickly,” CARB Chair Lauren Sanchez said in a press release.

The board reported that the state’s methane satellite, which passes by four to five times a week, has helped stop 10 large leaks since May.

“We believe that many operators would be interested in adopting these technologies to reduce the need for costly labor, especially as the number of mature technologies increases over time,” said air resources engineer Quinn Langfitt, who introduced the regulator’s proposal at a public hearing on Thursday.

The changes, which will affect 188 landfills in the state, are part of meeting the state’s goal to reduce methane emissions by 40% below 2013 levels by 2030.

Officials said the new rules could reduce landfill emissions by 427,000 metric tons of carbon dioxide equivalent per year. They would create $34 million in social benefits and cost landfills around $12 million, with the largest bearing the brunt of the price tag.

A recent report backed up the agency’s findings: By 2050, landfill emissions could be reduced by more than half and up to 64% by the end of the century, according to a March analysis by Industrious Labs. The group noted that California landfills emit 7.2 million metric tons of carbon dioxide equivalent of methane annually, which has “the same climate impact as driving 1.7 million cars for one year.”

But even though the board passed the new rules, they won’t go into effect immediately; staff will need to address a slew of clarifying questions raised by the public and board members during the hearing.

CARB board member Diane Takvorian supported the rule but pushed for a public-facing dashboard to show when and where emissions plumes are detected.

“People are asking for basic information,” Takvorian said, noting that technology is moving fast and that people need information now, not in years. She and others recommended an 18-month technology review after the rule goes into effect. They also suggested that the state and landfills share any data with the public as soon as possible.

“If we have the data, we should share it,” board member Hector De La Torre said.

John Kennedy, senior policy advocate for the Rural County Representatives of California, said he is “supportive of efforts to reduce emissions.” His group represents more than two-thirds of the landfills to which the standards would apply. Kennedy wants to ensure that the implementation is feasible for local governments “while protecting the communities that are close to those landfills.”

A spokesperson from Waste Management, which does business as WM, representing facilities across the state, thanked staff for the updated plan, but said he hopes they will work with the industry on site-specific conditions, which of the new rules are “necessary and useful to diagnose conditions,” and a framework for using alternative monitoring technologies.

Multiple residents from the Los Angeles community of Val Verde attended the meeting. They said they have suffered because of widespread noxious odors and hazardous gas emissions from the Chiquita Canyon Landfill in recent years. Brandi Howse, who spoke during public comment, said she has lived about 1,000 feet from the landfill for 27 years.

Howse said she has experienced clouds of methane and other gases at her home.

“You become dizzy, disoriented, nauseous. You get headaches, burning sinuses and bloody noses,” Howse said. “We are left to be concerned with long-term effects. I know that myself and my neighbors to my left and my right have all had cancer.”

Community members from the Kern County community of Avenal approached the podium to say that the landfill in their community is causing health concerns, including cancer, and people are leaving the town because of it.

“The smell is really bad,” said Leticia Luna, who moved to Avenal 15 years ago. “People are leaving our community because their homes are not safe, and when they leave, they find it difficult to sell because we live very close to the landfill.”

While many groups applauded the new rule, Jane Williams, executive director of California Communities Against Toxics, said it is a “real first step,” and that CARB needs even stronger rules to prevent fires and large emission leaks at landfills.

This story was originally published by Boyle Heights Beat on Wednesday.

As the holiday shopping season approaches, many small-business owners across Los Angeles are looking for a much-needed boost in sales after months of financial strain tied to immigration raids.

In Boyle Heights, for example, more than a dozen local restaurants reported losing 50% or more of their customers or revenue in the weeks after federal agents began conducting sweeps, according to a Boyle Heights Beat survey. 

One business owner said he lost more than $10,000 in revenue. Another estimated a loss of around $15,000.

Leading up to Black Friday, the merchants association known as Somos Los Callejones and the Los Angeles Tenants Union are teaming up with Councilmember Ysabel Jurado to host a street festival Saturday in the L.A. Fashion District’s Santee Alley. Olympic Boulevard between Santee Street and Maple Avenue will be shut down for the festival, which will feature music and vendors.

Event organizers aim to bring business back to the callejones, where vendors have noticed a decrease in foot traffic since immigration sweeps began in the summer. The Fashion District was among the locations that experienced the first workplace raids in early June.

Jurado, who represents Boyle Heights in District 14, will be attending the event.

The councilmember helped facilitate the opening of the city’s Small Business Administration’s Business Recovery Center at 1780 E. First Street. There, small businesses and nonprofit organizations affected by the raids can access information and resources about loan programs available to those experiencing financial hardship, a CD 14 spokesperson said.

On the Eastside, small businesses and community groups are launching holiday markets, hoping to boost local sales. Check back with Boyle Heights Beat soon for a full list.

A protest of New York’s Museum of Modern Art — over a 1984 exhibition that included only 13 women among a group of 169 artists — was a bit of a blip at the time.

The bigger impact was that the protestors would go on to found a long-running activist collective called the “Guerrilla Girls,” that would become known around the world for its outspoken calls for equity for women and people of color in the art world.

Now the anonymous group, who don gorilla masks and assume names of women artists of the past to maintain their anonymity, has its own exhibition at the Getty Research Institute in Los Angeles, called “How to Be a Guerrilla Girl.” 

Though that doesn’t mean the collective is sparing the Getty when it comes to calling out how museums perpetuate inequity through their acquisitions and exhibitions.

How the “Guerrilla Girls” got the art world’s attention

Using straightforward language, glaring statistics and humor and disseminating their messaging through protest signs, flyers, letters and postcards, eye-catching billboards and numerous media appearances, the Guerrilla Girls gained worldwide attention.

Guerrilla Girls posters on display at the "How to Be a Guerrilla Girl" exhibition at the Getty Center.

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The gorilla masks (and sometimes gloves too) didn’t hurt either. The use of the disguises grew out of one members’ confusion between the words “guerrilla” and “gorilla,” and became an essential part of the group’s collective public identity.

What’s on display in “How to Be a Guerrilla Girl”

The “How to Be a Guerrilla Girl” exhibition draws from the first 15 years of the Guerrilla Girls’ archives, which the Getty acquired in 2008, to show the stages of development — from lists and drafts to final products — of the various methods the collective has used to spread their calls for change.

"The Advantages of Being a Woman Artist" is one of the Guerrilla Girls' most well known works. Early drafts of it are included in the "How to Be a Guerrilla Girl" exhibition.

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Some of the group’s best known works are posters that read “Do women have to be naked to get into the Met[ropolitan] Museum [of Art]?” and another titled “The Advantages of Being a Woman Artist,” which lists things like “Having an escape from the art world in your [four freelance] jobs” and “Not having to undergo the embarrassment of being called a genius.”

Zanna Gilbert, one of the exhibition’s lead curators, says that while there have been many other Guerrilla Girls exhibitions, what makes this one unique is how it shows the behind the scenes work and thought processes that led up to these final products.

 “We have a lot of their brainstorming notes so you can really see the process of how they did their activism,” Gilbert says. “So we see it as a kind of toolkit for other people to learn from them.”

Not sparing the Getty from criticism

The exhibition also includes excerpts from the group’s media appearances through the years (like this one on The Late Show with Stephen Colbert in 2016) and an interactive digital display titled “What about Getty?” that reveals stats on how the Getty Museum and Research Institute measure up when it comes to the inclusion of women in collections and exhibitions over the years.

One example: “In the Getty Museum’s painting collection: 81.15% are by men, 18.03% are by anonymous, and less than 1% are by women (0.82%).”

“Institutional reflection is a strategy often used by the Guerrilla Girls when they're invited to do a project at an institution,” Kristin Juarez, also a lead curator of the exhibition, explains. “That if you're inviting the Guerrilla Girls to kind of bring what they do to your institution, you should also be open to reflecting on the work that they're doing.”

A portion of the new Guerrilla Girls work in the "How to Be a Guerrilla Girl" exhibition.

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The Getty also commissioned a new work from the Guerrilla Girls, which features their takes on the content of some of the paintings and sculptures in the Getty Collections, using cartoon speech bubbles to add commentary from the imagined perspectives of the women depicted in them.

The relevance of the Guerrilla Girls today

“ We think that this is an interesting moment, 40 years later, [when] some of the work still feels like it was made today,” Juarez says.

Taken together as a whole, she hopes the exhibition offers viewers a sense of “what it means to form a group and use your voice together.”

What to know before you go

The “How to Be a Guerrilla Girl” exhibition is open at the Getty Center now through April 12, 2026 and is presented in both English and Spanish.

Admission to the museum is free but requires a reservation. Parking is $25 ($15 after 3pm, $10 after 6pm, and free after 6pm on Saturdays). Metro bus 761 stops at the Getty Center entrance.

Los Angeles is on the hook if there are cost overruns for the 2028 Olympics, but that was not the case the last time the city hosted the Games.

In 1984, city officials pressured the International Olympic Committee into making an exception to its rule requiring that host cities foot the bill if the Games were unsuccessful. That fierce public battle guaranteed L.A. wouldn't pay to bring the Olympics to town.

The IOC faced a crisis in the run-up to 1984. Los Angeles was the only bidder to host the Games. The cost of the 1976 Olympics in Montreal exploded from an initial estimate of $120 million to $1.6 billion, leaving the city with debt that took 30 years to pay off. Montreal's mayor had promised his constituents that running a deficit was impossible.

"This essentially scared everybody away except for Los Angeles," said Rich Perelman, who led press operations for the 1984 Olympic Games. "Because of that deficit nobody wanted to bid."

Tehran had considered entering the fray to host the Olympics, but it pulled out due to political turmoil that would soon spark the 1979 Iranian Revolution. That left L.A. as the sole option for 1984.

A "tax revolt" in California

Then-mayor Tom Bradley and other L.A. officials wanted the Games to come to Los Angeles, but they couldn't afford to put city money on the line.

As L.A. was vying to host the Olympics, Californians were in a tax revolt that led voters to pass Prop 13, limiting property taxes. The public made it clear that it also didn't want tax dollars paying for the Olympic Games.

A 1977 survey of 1,200 Angelenos found that 70% supported bringing the Games to L.A. in 1984, according to an official report from the 1984 Olympic organizers. Only 35% remained supportive if the bid required city or county money.

"There has been so much bombastic rhetoric, all negative, about the Games, all predicting huge deficits, all voicing pessimism and gloom," Bradley says in a Sports Illustrated article in 1978, blaming Prop 13 and the media. "The atmosphere has been poisoned."

Making a deal

Public sentiment meant that L.A. officials had no choice but to broker a deal that did not include public monies backing the Games.

This presented a challenge to the IOC, because past Olympic Games had relied on government funds and a public backstop in the case of financial losses. It was the city of Montreal, not the International Olympic Committee, that took the fall when the cost of the 1976 Games ballooned.

The 1976 Games in Montreal left the city $1 billion in debt – a price tag that took 30 years to pay off.

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The IOC intended to require this of Los Angeles as well, but L.A. had more leverage than past host cities.

"The IOC has usually dictated its will to the host city, and its will has been followed," a New York Times article reported at the time. "But Los Angeles is attempting to use the advantage that goes with being the only runner in a race."

Tensions between the two sides continued to rise. One city councilmember was quoted in the press saying that the IOC could host the Olympics in Timbuktu if it didn't want to agree to the city's terms. Mayor Bradley threatened to pull out of the Games entirely.

Eventually, the IOC gave in. It pretty much had no other option.

In the fall of 1978, the two sides inked a contract that put a local private organizing committee, not the city of Los Angeles, in charge of the Games. The local committee and the U.S. Olympic Committee became the financial guarantors instead of L.A.

"The mayor, whose political fortunes have become closely identified with the OIympics, flashed a big smile, clapped his hands over his head and, in a high-pitched voice, said 'Yeah-hhh!," L.A. Times reporter Kenneth Reich wrote in October of 1978.

One month later, Angelenos overwhelmingly approved a ballot measure blocking public funds from being used on the Olympics unless they were reimbursed.

This sealed the fate of the 1984 Games. Los Angeles would have its cake and eat it too.

Los Angeles Mayor Tom Bradley holds the official Olympic Antwerp flag during the closing ceremony for the XXIII Olympic Summer Games at the Los Angeles Memorial Coliseum.

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A privately organized – and financed – Olympics

The deal between the IOC and the city of Los Angeles meant that for the first time, a private entity was responsible for staging the Olympic Games. That effort was led by businessman Peter Ueberroth, who took the helm in 1979 and needed a lot of money, fast.

The local Olympic committee controlled the lucrative television rights for the Games, and Ueberroth had broadcasters put down a refundable deposit to be considered. Five companies wrote checks for $750,000 each, according to Ueberroth's memoir. The organizers promptly put all that cash in a bank account earning interest, and used that interest to run day-to-day operations.

ABC eventually scored the T.V. deal and paid $225 million for it. Some of that had to be paid to the IOC eventually, but most of it went to the organizing committee. The local organizers used the interest from those funds to keep doing business. After 1984, the I.O.C. learned its lesson – now the international committee is the one that controls television rights.

Ueberroth and his team also changed the way Olympics sponsorships were brokered. In years past, hundreds of sponsors had kicked in small amounts to play a part in the Olympic Games. He shifted the strategy, instead having corporations bid against each other to be the sole sponsor of different parts of the Games.

Here's one example: When Kodak failed to offer at least $4 million to be the official film for the Olympics, Ueberroth gave Fuji Film 72 hours to sign on instead. Fuji locked in its place with an offer of $7 million.

"These checks started rolling in from sponsors," said librarian Michael Salmon, who works in the 1984 Olympic archive. "Bills were being paid and salaries were being paid."

In the end, the organizing committee made a killing – more than $230 million in profit. It also created a new model for financing the Olympics through huge corporate partnerships that continues today.

Renata Simril, the president of LA84 Foundation, the legacy organization founded with some of those profits, told LAist that that corporate legacy proved a new model for the Olympics could be successful.

"But I do think in some ways it has commercialized the Olympic Games to a degree that hurts my heart," she said. "We have to work harder to see the underlying value of the Olympic Games."

2028 v. 1984

International Olympic Committee President Thomas Bach (center) poses for pictures with Paris Mayor Anne Hidalgo (left) and Los Angeles Mayor Eric Garcetti during the 131st IOC session in Lima in 2017.

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Los Angeles faced different circumstances when it bid to host the Olympics this time around. There was competition.

Budapest, Hamburg, Los Angeles, Paris, and Rome all wanted to stage the 2024 Olympics. Then-Mayor Eric Garcetti said a bid would be “dead on arrival” without a guarantee that the city would financially back the Games.

In 2017, the IOC gave the 2024 Olympics to Paris and 2028 to Los Angeles. To secure its third time hosting the Games, L.A. agreed to what it vehemently opposed in 1984. It became the financial guarantor for the Olympic Games.