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  • Central Library exhibit targets world record
    Two men pose in front of a giant pop-up-book art installation featuring a tree, a feathered serpent and a sea turtle inside the LA Central Library rotunda.
    Matthew Reinhart, left, and Daniel González, right, created “Luceros y Penumbras,” a pop-up book seeking to break the world record for size.

    Topline:

    A pop-up book that’s seeking to break the world record for size has unfolded at the Central Library in downtown Los Angeles.

    The backstory: Luceros y Penumbras, which roughly translates to “starlight and shadows,” is part of the Central Library’s centennial celebration. The towering tome is rooted in L.A. artist Daniel González’s experience visiting the library and his family in Mexico as a child. “It's a knowledge tree that's been shaped by all these different things that I've learned at the library, about myself, about the city I grew up in [and] about the town where my family's from,” González said.

    How it was made: González sketched the images, carved them into linoleum, printed them with ink and then digitized them to add color and other details. Matthew Reinhart, a paper engineer, author and illustrator, designed the three-dimensional build. “ My job is really making mistakes,” Reinhart said. “Making mistakes, figuring out where they are and solving them and— of course— making them look good.”

    The stats: Luceros y Penumbras is four pages that open to create two scenes— one of the Central Library building and another of a sprawling tree. The book is 31 feet wide, more than 11 feet tall, and weighs 1,800 pounds.

    How to visit: The pop-up book is on display in the rotunda from Saturday through mid-November during the Central Library’s regular hours.

    Read on ... to learn more about what it took to create this 1,800-pound pop-up book. 

    A pop-up book that’s seeking to break the world record for size has unfolded at the Central Library in downtown Los Angeles.

    The art piece is 31 feet wide, more than 11 feet tall, and weighs in at 1,800 pounds.

    Luceros y Penumbras, which roughly translates to “starlight and shadows,” is rooted in L.A. artist Daniel González’s experience visiting the library and his family in Mexico as a child.

    “It's a knowledge tree that's been shaped by all these different things that I've learned at the library, about myself, about the city I grew up in, [and] about the town where my family's from,” González said.

    The nonprofit Library Foundation of Los Angeles collaborated with the library to commission the piece as part of the Central Library’s centennial celebration.

    The project is inspired, in part, by the library’s Toy Movable collection, an archive of more than 2,000 pop-up books.

    “Normal pop-up books … they seem so simple, but something amazing pops out when you open the page,” said Todd Lerew, the foundation’s director of special projects. “That sort of childlike wonder that you feel that's persistent, even as an adult, is something that was really important to capture and dial up to 11 with this project.”

    The origin of 'Luceros'

    The foundation asked González in June 2025 to create a book that told the story of his personal relationship with the library. As González pondered questions including  ”What did the library do for me as a young person?" and "Why was I so attracted to it?" he thought about how knowledge was passed down in his family through the generations.

    His grandmother told him stories about the stars above her farm near Teúl, Zacatecas, in Mexico. She said those that emerged at dawn — luceros — were among the most special because they signaled the start of a new day.

    “ I looked at those stars … and the histories that my grandparents were sharing with me as these guiding lights,” González said. “Just like the library is a guiding light for many people.”

    A woman wearing a wide-brimmed straw hat and a maroon shawl, smiles  at the camera in a garden.
    Daniel González's maternal grandmother, Isabel Gómez, told him stories about the creatures that lived near her farm, including owls, that could teach healing.
    (
    Courtesy Daniel González
    )

    González grew up blocks away from the Benjamin Franklin Library in Boyle Heights.

    “ I spent summers there because it was literally the coolest place to be,” González said. “It just gave me the opportunity to explore anything that I had an interest in.”

    A childhood snapshot a boy with brown hair, resting his chin in his hand as he sits on a floral-print couch holding a pencil. He wears a white "Saint Mary's Aztecs" T-shirt, with newspapers spread out beside him.
    Daniel González, as a child, after an unsuccessful attempt to make a kite after a trip to the library.  "My dad's like, 'I'm gonna take a picture of you so you can see what you look like when you get grumpy,'" he said.
    (
    Courtesy Daniel González
    )

    Later, he’d visit the Central Library during a middle school field trip and return on the bus to wander the stacks and ask the staff questions.

    “ I'm really lucky that I met the people that nurtured that curiosity,” González said.

    From sketches to ‘paper engineering’

    First, González sketched the images, carved them into linoleum, printed them with ink and digitized them to add color and other details.

    A linocut print of an oak tree sits in a display case alongside the carved block, ink roller and carving tools used to make it.
    A few of Daniel González's tools. In the future, he plans to sell prints related to "Luceros y Penumbras."
    (
    Mariana Dale
    /
    LAist
    )

    Matthew Reinhart, children’s book author, illustrator and “paper engineer,” was tasked with translating the images into three dimensions.

    “ My job is really making mistakes,” Reinhart said. “Making mistakes, figuring out where they are and solving them and — of course — making them look good.”

    The construction and the fabrication of the book took the work of more than 30 people over a series of months. At least a dozen people using giant poles capped with cushions turn the pages.

    Fast facts about Luceros y Penumbras

    Dimensions: 31 feet wide, more than 11 feet tall, and
    Weight: More than 1,800 pounds
    Materials: paper, corrugated cardboard and fabric
    Artist: Daniel González
    Paper engineer: Matthew Reinhart
    Fabricated by: Goodnight & Co.

    Luceros y Penumbras is four pages that open to create two scenes — one of the Central Library building and another of a sprawling tree with an I Spy-like collection of creatures and images throughout. The featured pages will change throughout the exhibition, which is open until mid-November.

    A giant pop-up spread featuring a tree, feathered serpent, coyote and sea turtle towers over a regular-sized copy of the same pop-up book at the L.A. Central Library.
    There are at least a dozen different symbols throughout “Luceros y Penumbras."
    (
    Mariana Dale
    /
    LAist
    )

    The sea turtle at the base of the tree is a reference both to the creatures that live in the San Gabriel River and to the original inhabitants of the L.A. basin. The Gabrielino-Tongva Tribe tells a story that connects the region’s earthquakes to the turtles.

    “When we think of sea turtles, we think of these faraway places where they live, like tropical places,” González said. “But they exist here and they've had to adapt to a changing climate, a changing environment, and find places to call home, just as people do.”

    Other images include:

    • A star resting in an outstretched hand in honor of Octavia E. Butler, the science fiction writer who also spent time in the library. 
    •  Quetzalcoatl, the feathered serpent Aztec deity and a frequent motif in East L.A.’s murals. 
    • An owl, a symbol of knowledge associated with the Greek goddess Athena and the Roman goddess Minerva. 

    González said the goal is for viewers to create their own narrative about what they see.

    “ I just hope that people carry with them a sense of curiosity to further explore the things that I present, but also maybe something within them,” González said.

    Visit the pop-up book

    On display: July 11 through mid-November
    Address: Central Library, 630 W. Fifth St. Los Angeles
    Hours: 
    10 a.m.-8 p.m. Monday-Wednesday
    9:30 a.m.-5:30 p.m. Friday-Saturday
    1 p.m.-5 p.m. Sunday
    Parking: Validated rate available during library hours at 524 S. Flower St., more information

  • How you can help build a 'sonic archive' of LA
    A hand holds a microphone pointed at a succulent plant on the side of the sidewalk.
    You can record the sounds of anywhere and upload them to the new map, including your own backyard.

    Topline:

    The Los Angeles Field Recording Club has launched a map that they describe as a “living sonic archive of Los Angeles,” and they’re looking for contributions.

    To see (and hear) the map: Visit the L.A. Field Recording Club’s website — there are already a few recordings to get things started.

    What kind of recordings are accepted: The club lists “birds, traffic, water, people, machinery, footsteps, or something unexpected” as examples of what they’re looking for. You can use anything to record, from fancy microphones to your phone.

    What’s field recording: They’re long-form recordings meant to capture the sounds made in a specific place. It’s often done in natural environments, but you can do it anywhere. Crowded bars, busy freeways, even parking lots are all fair game — in fact, one of the first recordings on the map is from the eighth floor of the Americana at Brand’s parking lot.

    Field recording as meditation: “There’s a certain fluctuation of sound happening — a pulse you might say — in this city," L.A. Field Recording Club founder George Jensen told LAist’s Robert Garrova. "Once people sit and be still for a moment, they hear it.”

    How to field record: Some basic tips from this radio producer:

    • Record as much as you can. You can always edit it down later, and there’s nothing I hate more than missing a cool moment of audio because I just turned off the recorder.
    • Get into a comfortable position before you hit record. Mics can pick up even slight movement, and your arms get tired quicker than you think. 
    • Don’t be afraid to get as close as you safely can to the source of a sound. A phone with good mic placement might very well capture a sound better than an $800 microphone from far away.
    • Monitor your recordings in real time if you can, and listen back to them if you can’t. You may be surprised by the differences between what you hear and what your mic records.

    To contribute to the map: If you have recordings you’ve already made, or want to go out and submit some of your own, you can send them to the club's email, lafieldrecordingclub@gmail.com, by following the instructions in this post. You can also bring the files to one of the club’s meetups.

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  • Actor of 'Star Trek' and 'X-Men' fame dies at 86
    A bald man in glasses and a navy blazer smiles slightly in front of a Peabody Awards backdrop.
    Patrick Stewart attends the 84th annual Peabody Awards on Sunday, June 9, 2026, in Beverly Hills.

    Topline:

    Patrick Stewart, the classically trained stage actor who scaled the Shakespearean canon and added gravitas to a “Star Trek” franchise and the “X-Men” films, has died. He was 86.

    Star on stage and screen: While best known as Professor Charles Xavier and Captain Jean-Luc Picard from the “X-Men” and “Star Trek: The Next Generation” series and films, respectively, Stewart spent more of his career onstage than in the X-Mansion or on the USS Enterprise.

    Patrick Stewart, the classically trained stage actor who scaled the Shakespearean canon and added gravitas to a “Star Trek” franchise and the “X-Men” films, has died. He was 86.

    Stewart died Wednesday in Los Angeles, following “a brief and poignant journey” with Alzheimer’s disease and Lewy Body Dementia, spokesperson Kelly Bush Novak said.

    While best known as Professor Charles Xavier and Captain Jean-Luc Picard from the “X-Men” and “Star Trek: The Next Generation” series and films, respectively, Stewart spent more of his career onstage than in the X-Mansion or on the USS Enterprise.

    Besides playing everyone from Claudius to Macbeth, he often performed a one-man rendition of “A Christmas Carol” and did West End and Broadway runs of Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot” in repertoire with buddy Ian McKellen.

    He achieved some of the best reviews of his career when he finally tackled Macbeth for the first time. The production, under the direction of Rupert Goold, debuted in May 2007 at England’s Chichester Festival Theatre, switched to London’s West End and then moved to the Brooklyn Academy of Music before transferring to Broadway in 2008.

    Stewart’s performance earned him his sole Tony Award nomination. The Times of London said his Macbeth was “an enthralling creation of frailty, appetite, egotism and grim humor.” The Daily Telegraph said he had turned in “a truly great performance” and The New York Times said it was “a must-see.”

    “Nearly 50 years I’ve waited,” Stewart told The Associated Press in 2008. “I learned it when I was 14. I memorized all the soliloquies just because I thought they were great. And they stuck, so I didn’t have to learn those bits of the play, which is a blessing, because learning lines has now become the one curse of this job.”

    Starship commander grew up without a toilet

    Raised in Mirfield in Yorkshire, a working class corner of northern England, the future 24th century commander of a starship grew up without a bathroom in his house.

    Stewart joined an amateur drama group at 12 and memorized Shakespeare for fun as a teen. He won a scholarship to the Bristol Old Vic Theatre School, launching a career as a character actor.

    He was bald since he was 19 — alopecia runs in his family.

    His father, a former regimental sergeant major in the British Army, was prone to outbursts of “repeated violence against my mother,” as Stewart wrote in a newspaper piece. “Violence is always a choice a man makes and he alone is responsible for it.”

    In his memoir, “Making It So,” Stewart wrote about how he and his older brother Trevor braced for the nights when their dad came home drunk and angry, and attacked their mother. “Sometimes it was with an open hand, other times a closed fist. Always he aimed for her head.”

    The son would later became a patron for Refuge, an organization that provides shelter for domestic abuse victims.

    Loving Shakespeare proved fruitful as Capt. Picard

    “The stage would prove to be a safe space, a refuge from real life in which I could inhabit another person, living in another place and time,” he would write.

    Stewart was accepted into the Royal Shakespeare Company and stayed for 14 years, playing everything from Mark Anthony to Henry IV to Shylock to Oberon. “People who were not in the company would say to me, ‘Give it a break. Why don’t you go somewhere else?’ And I would say, ‘To do what?‘” he told the AP. “Telly?”

    Stewart eventually left to look for more varied work, including the 1981 film “Excalibur.” He had just done a production of “Who’s Afraid of Virginia Woolf?” in 1987 when an interesting offer came along. “I found myself in Hollywood shooting a syndicated science fiction series, which I was assured would fail.”

    It didn’t, of course. Thanks to Stewart’s rich baritone and noble bearing, the “Star Trek” franchise ran for seven years, 178 episodes and produced four feature films. He was known for his slogan “Make it so.”

    His adoration for Shakespeare would serve him well when he began to play Jean-Luc Picard, a 24th century starship commander.

    “There is a formality to the way they speak and comport themselves that remind me of numerous Shakespearean situations I’d been in onstage. I should play Jean Luc, I realized, as if he were a character in ‘Henry IV,’ which is about brave men,” Stewart wrote in his memoir.

    Despite the Borg and Klingons, Stewart still managed to make room for blank verse. He established the Paramount Shakespeare Company, a workshop on Saturday and Sunday mornings for any actor interested. (Stewart revisited Picard in the TV series “Star Trek: Picard.”)

    The show gave him a higher visibility, which led to more work, including roles in the films “Conspiracy Theory,” “L.A. Story” and Broadway, where he starred in “The Tempest,” “The Caretaker” and David Mamet’s “A Life in the Theater.” He was knighted by Queen Elizabeth II in June 2010. Stewart was also an ambassador for the International Rescue Committee.

    A brave and commanding persona. But sexy?

    In July 1992, he and supermodel Cindy Crawford were on the cover of TV Guide’s “Top Turn-Ons,” based on a readers’ poll. In his memoir, Stewart wrote: “Absurd.”

    Stewart was first introduced as the character Xavier in the original X-Men trilogy, appearing in three films from 2000 to 2006. He later returned in four more movies before Professor X’s death in 2017’s “Logan.” He reappeared in “Doctor Strange in the Multiverse of Madness” in 2022.

    He also showed off his comedic chops aboard Seth MacFarlane’s Starz show “Blunt Talk” for two series and voiced Poop in “The Emoji Movie.” He made appearances on “Robot Chicken,” “Futurama” and “The Simpsons” (in one episode, Homer loses his hair, and Stewart tells him it’s great to be bald.)

    Later in life, he proved Internet-savvy and found new fans with his humor, posing in a bath in a lobster suit and triggering memes when he posted a photo of him picking apples. When he was mistakenly outed as gay by a British newspaper, he said it was a nice change. “At least I didn’t wake up to the internet telling me I was dead again,” he tweeted.

    He married Brooklyn songwriter and singer Sunny Ozell in 2013, with the actor’s “X-Men” co-star McKellen officiating. Stewart later tweeted a photo of the newlyweds in a ball pit.

    He also is survived by two children, a daughter, Sophia, and a son, Daniel.

  • Money open to businesses impacted by the fire
    Firefighters pour water into the Lineage cold-storage warehouse on June 24, 2026. (Laura Anaya-Morga / Boyle Heights Beat)
    Firefighters pour water into the Lineage cold-storage warehouse on June 24, 2026.

    Topline:

    Businesses impacted by the Lineage warehouse fire can apply for up to $30,000 in city grants to help pay for equipment, tools, marketing support and customer outreach. 

    What's available: Applicants may be eligible for up to $30,000 for equipment — pertaining to kitchen use, automotive tools, technology hardware upgrades or software — and $15,000 for marketing outreach — including for physical promotion on billboards, social media advertising, window displays and physical printed materials. 

    What isn't covered: Grants cannot be used for employee wages, salaries, benefits, rent, utilities, credit obligations, lease and loan payments.

    How to get in touch: Funds through the Business Stabilization and Layoff Aversion program are limited to brick-and-mortar businesses within the city of L.A., and do not include unincorporated East L.A. (For services available in unincorporated East L.A., contact the L.A. County Department of Economic Opportunity at (844) 432-4900 or email osb@opportunity.lacounty.gov).

    Businesses impacted by the Lineage warehouse fire can apply for up to $30,000 in city grants to help pay for equipment, tools, marketing support and customer outreach. 

    Funds through the Business Stabilization and Layoff Aversion program are limited to brick-and-mortar businesses within the city of L.A., and do not include unincorporated East L.A. (For services available in unincorporated East L.A., contact the L.A. County Department of Economic Opportunity at (844) 432-4900 or email osb@opportunity.lacounty.gov).

    Applicants may be eligible for up to $30,000 for equipment — pertaining to kitchen use, automotive tools, technology hardware upgrades or software — and $15,000 for marketing outreach — including for physical promotion on billboards, social media advertising, window displays and physical printed materials. 

    Grants cannot be used for employee wages, salaries, benefits, rent, utilities, credit obligations, lease and loan payments.

    The city program is funded by a $1 million grant award from the U.S. Department of Labor and is currently accepting applications.

    How to apply

    The application is a two-part process. It involves an initial online submission followed by an in-person business needs assessment with the city’s BusinessSource Center. The application is available in English and Spanish. No deadline has been set.

    Before you apply

    The city advises applicants to review eligibility requirements. Applicants must be a brick-and-mortar business in the city and show documented proof that they were fiscally impacted by the fire. 

    Gather required documents

    Eligibility information and supplemental documents include having your employer identification number and business tax registration certificate, as well as documentation illustrating impact, such as a profit and loss statement, sales reports and four months of bank statements. For the full list of required documentation, click here. 

    Application assistance

    You can fill out this form to let the city know what you need help with, or send an email to resources@lacity.gov with questions or concerns about the application. A document with frequently asked questions about the program is also available in English and Spanish. 

    The post LA businesses affected by the Lineage fire can apply for grants of up to $30,000 appeared first on LA Local.

  • Suit is over claims of noncitizen voters
    Empty podium bearing the Department of Justice seal, in front of a U.S. flag, a Department of Justice flag and a Department of Justice plaque on a navy curtain.
    The U.S. Department of Justice logo is seen on a podium before a press conference, May 6, 2025, at the Justice Department in Washington.

    Topline:

    The Trump administration has asked a federal appeals court to quickly weigh in on whether it can temporarily prevent California from counting the ballots of up to 20,000 people it alleges are likely noncitizens after a lower court judge forcefully rejected the request. The Justice Department said in a late Wednesday filing that it’s essential the 9th Circuit Court of Appeals issue a ruling as soon as possible due to “irreversible ballot processing occurring on an ongoing basis.”

    Why it matters: Carter’s decision was the latest legal setback for President Donald Trump in his efforts to expand federal control over state-run elections in the midterms that will decide control of Congress for the rest of his term. The Justice Department has made similar demands in other states including Washington. Noncitizen voting has been a central focus of Trump’s political messaging for years, although available data indicates it is exceedingly rare.

    Why now: The appeal came just hours after U.S. District Judge David O. Carter issued a blistering order against the department’s last-minute effort to compel California to segregate the ballots from its vote count. The department says it believes those ballots were sent to people who are registered to vote even though they are not U.S. citizens. Early voting has been underway in the state for weeks and millions of people have already cast ballots.

    The Trump administration has asked a federal appeals court to quickly weigh in on whether it can temporarily prevent California from counting the ballots of up to 20,000 people it alleges are likely noncitizens after a lower court judge forcefully rejected the request.

    The Justice Department said in a late Wednesday filing that it’s essential the 9th Circuit Court of Appeals issue a ruling as soon as possible due to “irreversible ballot processing occurring on an ongoing basis.”

    The appeal came just hours after U.S. District Judge David O. Carter issued a blistering order against the department’s last-minute effort to compel California to segregate the ballots from its vote count.

    The department says it believes those ballots were sent to people who are registered to vote even though they are not U.S. citizens. Early voting has been underway in the state for weeks and millions of people have already cast ballots.

    Trump blasts judge’s decision and says California’s elections are ‘extremely corrupt’

    Carter’s decision was the latest legal setback for President Donald Trump in his efforts to expand federal control over state-run elections in the midterms that will decide control of Congress for the rest of his term. The Justice Department has made similar demands in other states including Washington. Noncitizen voting has been a central focus of Trump’s political messaging for years, although available data indicates it is exceedingly rare.

    Trump blasted Carter’s decision on Thursday morning before heading to a campaign rally in South Carolina.

    “California is very corrupt. The elections are extremely corrupt. The judge should not have done that but we’ll appeal that, of course,” he told reporters. Trump added without evidence that there are “hundreds of thousands” and then amended it to “millions, in my opinion” of “bad ballots” in California.

    Carter, an appointee of Democratic President Bill Clinton, argued that the Justice Department’s demands were a clear violation of the National Voting Rights Act, which prohibits changes to voter rolls or election procedure within 90 days of an election.

    A number of US citizens were included in the Justice Department’s list of names

    Carter also questioned the reliability of the department’s list of names, since both sides agree that an unspecified number of citizens were inadvertently included. He argued that separating the ballots at this point would risk disenfranchising citizens and “wreak havoc” on the election certification process.

    Over 500,000 votes have already been processed in Los Angeles County alone, according to court filings. The system also protects voter privacy: Once a vote is processed, it cannot be traced back to the person who cast it.

    Carter still has to rule on the federal government’s renewed request for a preliminary injunction, which would bar the state from counting the ballots until the litigation is resolved.

    He said Wednesday that if the federal government suspected noncitizens were voting, it could continue to prosecute those cases criminally. Federal authorities have charged over two dozen foreign nationals in California as part of a statewide sweep targeting people officials say have illegally registered or voted in U.S. elections.

    Appeals panel judges have said they wouldn’t support setting aside ballots this close to midterms

    The Justice Department has argued that it is in the government’s interest to prevent fraudulent voting before it happens. Federal prosecutors also have said voters won’t be disenfranchised by delaying the tabulation of their ballots while their citizenship is checked — an assertion disputed by county election officials.

    The appeal will be the second time that the 9th Circuit Court of Appeals will consider the case.

    The first time was just last week when the Justice Department argued before an appeals court panel that a fast ruling on its request was needed to stop any counting of the ballots.

    Although the panel ruled it was premature for an appeals court to get involved before a lower-court ruling, two of the three judges wrote separate concurrences making it clear they wouldn’t support setting aside ballots at this late date. They questioned the accuracy of the federal government’s list of alleged noncitizen voters and argued that to set aside votes risks disenfranchising citizens.

    One judge dissented, arguing that federal law bars noncitizens from voting and compels California to vet the potentially illegal ballots before they are counted. The failure to do so, he wrote, would cause irreparable harm to the election.

    It’s not clear whether the case will appear before a new panel of judges or the same three that reviewed the case last time.