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The Brief

The most important stories for you to know today
  • This L.A. artist is mixing both worlds
    QUEEN-OF-LOWRIDERS
    Jacqueline Valenzuela with her lowrider "La Playgirl." Valenzuela highlights women and the LGBTQ+ community in lowriding culture through her artwork and the car club she helped found.

    Topline:

    When artist Jacqueline Valenzuela first got her Cadillac, a lot of people assumed it belonged to her husband. When she heard from more women who had the same experience, she got an idea: "Maybe I should paint the women in the community or paint about the community, but from a female perspective."

    Why now: Lowriders are getting the spotlight this spring. A new exhibition called "Best in Low" opened this past weekend at the Petersen Automotive Museum.

    And artist and lowrider owner Jacqueline Valenzuela has a solo show called "On This I Stand" at Arts at Blue Roof in South L.A. through June 1.

    Go deeper:

    “You’re into lowriding, right?”

    It’s a question multidisciplinary artist Jacqueline Valenzuela says she hears often. So often, in fact, it makes her laugh.

    “It’s literally my life,” Valenzuela recently told How To LA host Brian De Los Santos. “I don't know how to better explain it. It's merged into my art practice. I have a car. My studio's in an auto body shop. Like, I can't escape it.”

    The car is a 1975 Cadillac Eldorado that Valenzuela has named, “La Playgirl.”

    A woman in a black t-shirt and pants stands outside a pink Cadillac with flames on the back. She is looking off to her right, showing her profile to the camera, and leaning her arms on the car door behind her.
    Jacqueline Valenzuela with her lowrider "La Playgirl." Valenzuela highlights women and the LGBTQ+ community in lowriding culture through her artwork and the car club she helped found.
    (
    Samanta Helou Hernandez
    /
    LAist
    )

    “She’s hot pink, which I always think is funny because I hated pink growing up and now I have a hot pink car," Valenzuela said. "It’s very much playing on the idea of an alter ego, like a woman that’s in charge.”

    Elevating women

    One area in which Valenzuela has taken charge is highlighting other women like her in the lowrider community. Like her friend Ashley — a nail technician who does lowrider-inspired nails. Or another friend, Monique, who she’s painted three times and whose son now wants to pursue an arts degree, like Jacqueline did.

    “For so long women in the [lowrider] space were just looked at as eye candy or like models,” Valenzuela said. “And yeah, some women do own cars and model with their cars. That's amazing. [But] there's also women that don't model with their cars and sometimes they're not given that platform, so I strive to do that through my art practice.”

    Her studio space in the city of Industry, which she shares with her fiancé Mark Hocutt, is also partly an auto shop. In the front is an office and a space for Jacqueline to paint on canvases, a panel for a hand-painted mural on a car, or to work on an installation. In the back is the auto shop, with classic cars that Mark — a custom car painter — is working on.

    “Whenever I need inspiration I literally just walk back there and I’m like, Oh I can paint this,” Valenzuela said. “Sometimes it’ll be something as simple as seeing tires that are arranged a certain way and I’ll want to paint that.”

    Her art, her car

    She describes her style of art as “hybrid” with realistic depictions of people, cars, and places mixed in with more abstract elements — like the use of pixels and bold color choices.

    A view of a painting of a woman on the street, outside a car. She has red hair and is wearing sunglasses with her hands in her shearling jacket pockets. In the left corner is a graffiti-like collage with a stop sign and hands spelling out "LA"
    A painting by Jaqueline Valenzuela.
    (
    Samanta Helou Hernandez
    /
    LAist
    )

    “If you look at my art, you see that I like almost an off putting amount of color, and that's what I like on cars too,” she said. “I want to see patterns that don't make sense together or that look weird together.”

    And while the combination of her love of lowriders and fine art makes sense to her, it’s not always obvious to others.

    “It’s funny that in the art world, sometimes I'm not taken seriously because of the lowrider aspect, but then in the lowrider world, sometimes I'm not taken seriously because of the fine art aspect,” she said.

    While it used to bother her, Valenzuela said, it doesn’t anymore. And the people that know her know that she has real cred in both worlds.

    She gained the confidence to pursue fine art as a career while getting her art degree at Cal State Long Beach, and her work is now in galleries and museums. (Currently, she has a solo show at Arts at Blue Roof in South L.A.)

    She also grew up in Whittier, where she was around lowriders all the time. And she took a three-year hiatus from fine art to work in an auto shop painting lowriders.

    Inclusion matters

    Valenzuela and Hocutt both also co-founded — along with their friend Jesse Jaramillo — a car club called Prophets that welcomes women and people who identify as LGBTQ+.

    “There's still lowrider car clubs that have laws and bylaws that don't allow women to even sit in on their car club meetings,” Valenzuela said. “There is still a lot of that point of view that, ‘Oh, you're queer? That's not normal.’”

    “I feel like it's so embedded in [Chicano] culture that unfortunately it's gone into the lowrider community as well," Valenzuela added. "That's why we thought it was important to carve out a space for ourselves and make sure that people that we love and really care for feel safe in the space that we're like making for ourselves in the lowrider community.”

    To see more of Jacqueline Valenzuela’s work, check out the recent special, all-female edition of Lowrider Magazine

    She also has an exhibition open through June 1 at Arts at Blue Roof in South L.A. and this fall will have her first solo museum show at the Bakersfield Museum of Art.

  • DOJ is linking funds to immigration enforcement
    Acting U.S. Attorney General Todd Blanche, a man with light skin tone, wearing a dark blue suit and tie, looks out of frame as he stands in front of signage that reads "Department of Justice. Washington."
    Acting U.S. Attorney General Todd Blanche listens to a reporter's question during a press conference at the Department of Justice on June 11 in Washington, D.C. The DOJ is offering public safety grants to cities and police departments across the country.

    Topline:

    The Justice Department is offering nearly $1 billion in federal public safety grants for cities and police departments across the country. But the grants, announced this month, come with a catch: Local officials have to be willing to work with federal immigration officers.

    Why it matters: The move is part of a larger push from the Trump administration to entice cities and their police forces to work more closely with federal immigration officers, a shift officials at the DOJ and the Department of Homeland Security have been quietly making in the aftermath of the highly visible — and highly unpopular — immigration enforcement surges in cities like Minneapolis and Chicago in recent months.

    The backstory: About $700 million of the grant money comes from the Office of Community Oriented Policing Services within the DOJ. These funding opportunities, known as COPS grants, have existed since 1994. Historically, they are one of the largest sources of federal funding for local police. In the last three decades, COPS grants have sent more than $20 billion to cities across the country.

    Read on... for more on the grants.

    The Justice Department is offering nearly $1 billion in federal public safety grants for cities and police departments across the country. But the grants, announced this month, come with a catch: Local officials have to be willing to work with federal immigration officers.

    The move is part of a larger push from the Trump administration to entice cities and their police forces to work more closely with federal immigration officers, a shift officials at the DOJ and the Department of Homeland Security have been quietly making in the aftermath of the highly visible — and highly unpopular — immigration enforcement surges in cities like Minneapolis and Chicago in recent months.

    "They are trying to take dollars that local agencies have been depending on for years and saying, 'Oh, well, if you want these dollars, then you need to help us out with our immigration enforcement work," says Tahir Duckett, executive director of the Center for Innovations in Community Safety at Georgetown Law.

    About $700 million of the grant money comes from the Office of Community Oriented Policing Services within the DOJ. These funding opportunities, known as COPS grants, have existed since 1994. Historically, they are one of the largest sources of federal funding for local police. In the last three decades, COPS grants have sent more than $20 billion to cities across the country.

    Much of that money has traditionally gone toward hiring new police officers, but it can also support school safety programs, mental health services for police officers and other initiatives.


    A second set of funds, called the Model Cities Initiative, is new and comes from last year's One Big Beautiful Bill Act, President Trump's massive tax and spending law. That grant money, once awarded, can be used for things like increasing police presence in high crime areas or purchasing new technology, like drones and AI. It will amount to about $300 million and will be awarded to two to four midsize cities.

    "That is highly unusual and especially concerning, because the grants appear to be bypassing the standard competitive peer review process," Amy Solomon, senior fellow at the Council on Criminal Justice and former head of the DOJ's Office of Justice Programs, told NPR. Typically, a team of reviewers, which sometimes includes subject matter experts outside the DOJ, evaluates the grant applications that meet the eligibility basic minimum requirements.

    For the Model Cities Initiative, the DOJ says agency leadership will review each application and publish a list of finalists who will be invited to make a presentation to agency leadership.

    "The strongest applications will not come from one office or one representative acting alone. They will come from jurisdictions that offer true partnership," acting Attorney General Todd Blanche said in a recent video statement about the Model Cities Initiative.

    What "true partnership" entails becomes clearer in the fine print.

    In the grant materials for the Model Cities Initiative, the DOJ says any program or activity that "impedes or hinders" the enforcement of federal immigration law, including by failing to honor DHS requests, will not be funded.

    In announcing the new batch of COPS grants, the DOJ included a similar stipulation, indicating that "priority consideration" will be given to cities and counties that cooperate with federal immigration enforcement.

    Insha Rahman, president and director of the Vera Institute of Justice, a criminal justice reform nonprofit, says the grant language may signal to Democratic-led cities that they need not apply.

    "What's the end result? The only cities and localities that apply are Republican-led cities," Rahman says. "Then on the campaign trail in the midterms, the Trump administration can say, 'Look, Republicans take crime seriously. They're tough on crime. These Democrats are soft on crime. They want to defund the police. So they're not applying for these grants.'"

    It is not unusual for federal grant money to be tied to a political agenda. During the Obama administration, for instance, the DOJ gave additional consideration to agencies that said they wanted to build trust in their communities. That was just a few years after the 2014 police killing of Michael Brown in Ferguson, Mo. During President Joe Biden's years in office, priority was given to cities that used community approaches to violence intervention.

    The first Trump administration also linked some grants to immigration enforcement, though that was challenged in court and ultimately revoked by the Biden administration.

    Some criminal justice experts say the reattempt to forge a link between federal immigration enforcement and local policing is troubling, especially because experts say there's no clear link between immigration and public safety. Studies show immigrants are less likely to commit crimes than their citizen counterparts.

    Immigration enforcement has typically been the job of the federal government, not local law enforcement, and many police chiefs insist there's good reason for that. They say working with immigration authorities erodes community trust in local policing and makes people less likely to call 911 or cooperate as witnesses in police investigations.

    The Justice Department declined an interview on the grant funding. Initially, it directed NPR to DHS, which is also offering large funding incentives for local police doing immigration work

    DHS told NPR in a statement that refusing to work with ICE is "misguided" and that when local police don't work with them, federal officers have to have a "more visible presence" in communities.

    Later, the DOJ sent its own statement to NPR saying the suggestion that immigration is not related to public safety is "ludicrous" and that ICE has arrested "hundreds of thousands of criminal illegal aliens across all 50 states, including terrorists, murderers, rapists, pedophiles, and gang members."

    Recent data shows more than 70% of immigrant detainees have no criminal convictions.
    Copyright 2026 NPR

  • Sponsored message
  • Dataland opens, beginner line dancing and more
    A woman wearing white with her back to the camera looks at five vertical digitally rendered images.
    The new AI art museum Dataland is officially open to the public.

    In this edition:

    Dataland opens, Chris Fleming at the Largo, Stud Country beginners night and more of the best things to do this week.

    Highlights:

    • Cross learning to country line dance off your bucket list at Stud Country’s weekly queer line-dancing party at Los Globos. Mondays are for beginners; Thursdays, you’d better know what you’re doing or fear the trample! Howdy, pardner.
    • I had the chance to spend several hours at Dataland, the world’s first AI art museum, ahead of its opening and to speak with its founders, the artists (and married couple) Refik Anadol and Efsun Erkiliç. The pair have brought to life something truly unique, and we’re lucky to be in L.A. to experience it.
    • I saw Chris Fleming at a Netflix Is a Joke Festival event, and now I’m kind of obsessed with their quirky, offbeat humor. They’re doing a standup set at the Largo — which will definitely be longer than their fleeting but excellent Widow’s Bay turn as the shaman who gets sucked up into a tornado (IYKYK).

    The World Cup and the Hollywood Fringe theater festival may not have a huge Venn diagram of overlapping fans, but perhaps the closest is the theatrics of England fans singing "It’s Coming Home" loudly at Ye Olde King's Head in Santa Monica (get there early if you want a seat for the England match on Tuesday). Then head to the theater to check out sporty Fringe shows Ball Boy, where comedian Ben Fisher recounts his experiences as the gay son of a baseball umpire, or go catch Kickball: The Musical (self-explanatory!).

    If music is more your thing, Licorice Pizza’s picks for the week include supermodel and eyebrows icon Cara Delevingne’s two special showcases at Hollywood Forever Cemetery on Monday and Tuesday; also on Monday, shoegaze legends Heavenly make their own comeback at the Regent.

    Tuesday, rapper and singer Isaiah Rashad is at the Grammy Museum, and singer-songwriter Audrey Hobert plays her first of two nights at the Wiltern. Also on Wednesday, Khalid plays the Greek, Madison Beer and Thủy play the Forum, Britrockers Bôa play the Bellwether, and rising U.K. electropop star Girli is at the Lodge Room.

    On Thursday, Summer Walker is at the Crypto.com Arena, and Killswitch Engage with Machine Head are at the Hollywood Palladium.

    Elsewhere on LAist, you can find out who to blame for the lack of public bathrooms in L.A., make a plan to see the top 25 documentaries of this century and get our full guide to World Cup festivities around town.

    Events

    16th Annual Zócalo Book Prize Event: America, Can We Take Down the Walls Between Us?

    Thursday, June 25, 7 p.m. 
    ASU California Center Broadway 
    1111 S. Broadway, Downtown L.A.
    COST: FREE; MORE INFO

    A medium-dark-skinned man in front of a medium-light-skinned man on the left, with a book cover on the right that reads "Anand Pandian Something Between Us."
    (
    Courtesy Zócalo Public Square
    )

    Anand Pandian, the winner of the 2026 Zócalo Book Prize, will join political strategist and Lincoln Project co-founder Mike Madrid for a conversation about Pandian’s winning book, Something Between Us: The Everyday Walls of American Life, and How to Take Them Down. From fences around our houses to the "walled gardens" of the internet, our real and imagined borders are the focus of Pandian’s work. Plus, Deborah Ager, winner of the Zócalo Poetry Prize, will read her winning poem, “Letter from Indialantic.”


    Rod Lightning & the Thunderbolts of Love

    Thursday, June 25, 6 p.m.
    Concerts on Cañon
    Beverly Cañon Gardens
    241 N. Canon Drive, Beverly Hills
    COST: FREE; MORE INFO 

    Celebrate Pride with a free early evening concert in Beverly Hills, featuring classic hits from Rod Lightning & the Thunderbolts of Love.


    29th Annual Dances With Films LA Festival

    Wednesday, June 24, 4 p.m.
    The Art of Sharing film screening
    Chinese Theatre
    6925 Hollywood Blvd., Hollywood
    COST: $26.90; MORE INFO 

    A poster for a documentary film, with text reading "The Art of Sharing A New Way to See Food."
    (
    Courtesy GPPR
    )

    The annual indie film fest Dances With Films continues through June 28, but this Wednesday is a great chance to see the block of documentary short films in the lineup. The docs include The Art of Sharing, which follows Michelin-starred chef and artist Minh H. Phan during her artist residency with Food Forward, a California nonprofit dedicated to rescuing fresh surplus produce that we’ve featured in Best Things to Do for their annual Zest Fest and volunteer opportunities.


    Dataland 

    Ongoing
    100 S. Grand Ave., Downtown L.A.
    COST: FROM $49; MORE INFO

    A person's silhouette in a trippy, kaleidoscopic immersive art exhibit.
    (
    Refik Anadol Studio
    )

    I had the chance to spend several hours at Dataland, the world’s first AI art museum, ahead of its opening, and to speak with its founders, the artists (and married couple) Refik Anadol and Efsun Erkiliç. The pair have brought to life something truly unique, and we’re lucky to be in L.A. to experience it. You enter into a deeply immersive (I know, overused word, but it’s true) world that takes you to the rainforests of the Amazon and into the connected networks that exist across nature. It’s a totally new way of going to a museum, and I think there’s a lot that other institutions that could take notes on how to make art and technology feel visceral and relevant. It just opened last week and is a permanent installation that takes more than two hours to really see, so plan accordingly.


    Stud Country beginner night 

    Monday, June 22, 8 p.m.
    Los Globos 
    3040 W. Sunset Blvd., Silver Lake
    COST: $20; MORE INFO

    Cross learning to country line dance off your bucket list at Stud Country’s weekly queer line-dancing party at Los Globos. Mondays are for beginners; Thursdays, you’d better know what you’re doing or fear the trample! Howdy, pardner.


    Chris Fleming

    Tuesday, June 23, 8 p.m.
    Largo at the Coronet
    366 N. La Cienega Blvd., Melrose 
    COST: $50; MORE INFO 

    A light-skinned person with reddish hair and glasses smiles at the camera.
    Chris Fleming performs at the Largo this week.
    (
    Arturo Holmes
    /
    Getty Images for Tribeca Film Festival
    )

    I saw Chris Fleming at a Netflix Is a Joke Festival event, and now I’m kind of obsessed with their quirky, offbeat humor. They’re doing a standup set at the Largo — which will definitely be longer than their fleeting but excellent Widow’s Bay turn as the shaman who gets sucked up into a tornado (IYKYK).


    Live reading: Mrs. Alving & The Captain, Los Feliz

    Wednesday, June 24, 7:30 p.m.
    Echo Theater Company
    Atwater Village Theatre
    3269 Casitas Ave., Atwater Village
    COST: FREE; MORE INFO 

    A light-skinned man with a salt-and-pepper beard looks at the camera.
    Hamish Linklater's new play will get a free reading this week.
    (
    Michael Loccisano
    /
    Getty Images
    )

    Oh look, another Widow’s Bay reference from me. Y’all really need to watch this show. But I digress. This time, the featured actor from the Apple TV hit is Hamish Linklater, who wrote a new play — Mrs. Alving & The Captain, Los Feliz and is also in the cast. Get in early and check out this free reading of the new comedy with Echo Theater Company.

  • La Copine takes the Cookbook Live stage
    Two women with light skin stand close together inside a sunlit restaurant, smiling at the camera and holding a cookbook titled "La Copine," with diners seated at tables behind them.
    Nikki Hill, left and Claire Wadsworth at La Copine with their cookbook.

    Topline:

    Claire Wadsworth and Nikki Hill — the life and business partners behind La Copine, the cult-favorite restaurant near Joshua Tree — have released their debut cookbook, La Copine: New California Cooking from an Oasis in the Desert. On Thursday, June 25, they come to The Crawford in Pasadena for Cookbook Live, an onstage conversation and live cooking demo presented by LAist in partnership with the James Beard Foundation.

    Why it matters: A decade ago, the pair bought a Flamingo Heights restaurant with a contract signed in a pickup truck, paid for with a $5,000 wedding fund, no lawyers and seven days to find the rest of the money. What they built became one of California's most singular dining destinations: a globe-hopping but unfussy menu, come-as-you-are hospitality, and a devoted following of locals, road-trippers and celebrity regulars.

    Why now: The cookbook is out, and the June 25 event is a rare chance to see Wadsworth and Hill outside the desert — cooking a signature recipe live and, in Wadsworth's case, performing music as St. Claire.

    It all began with a business contract signed inside a pickup truck in the desert — with little more than a dream and a song — and became something far bigger than anyone could have imagined.

    That's the story of La Copine, the cult-favorite restaurant that helped redefine what dining in the Mojave Desert could be.

    "I would not advise anyone to do what we did," says Claire Wadsworth, who, along with her wife and partner Nikki Hill, bought the restaurant with a $5,000 check from their honeymoon fund — no lawyers, no inspection, and seven days to come up with the rest of the money.

    At the time, Wadsworth and Hill were ready to sign a lease on an L.A. restaurant space. Hill was working as a sous chef under Antonia Lofaso at Scopa in Venice, a chef she still counts among her closest mentors and friends. Wadsworth was in the music industry: a musician herself, trained at Berklee College of Music, who also ran the front desk at the Village recording studio in West L.A. There, she mastered the craft of hospitality, learning the food and drink orders of the high-profile clients who came through — Elton John's non-alcoholic Heineken, Weezer's penchant for vegan fare.

    A cult favorite in the desert

    Eleven years later, La Copine has become the kind of place people plan whole trips around — a remote desert restaurant that draws road-trippers, locals and a steady stream of famous fans alike. Set near Joshua Tree, it pulls in music from every direction: over the years it has fed and hosted the likes of Big Thief, Jenny Lewis, Courtney Barnett and Patti Smith, with neighbors like Pappy & Harriet's and Rancho de la Luna feeding the same creative current.

    A hand-lettered La Copine sign on a post beside a desert highway, framed by the green branches of a palo verde tree, with scrubland and mountains in the distance under a blue sky.
    La Copine's hand-lettered sign stands roadside in Flamingo Heights, near Joshua Tree.
    (
    Sheva Fafai
    /
    Courtesy La Copine
    )

    What keeps people making the drive is a globe-hopping but unfussy menu — dishes pulled from France, the Mediterranean, Southeast Asia and beyond, built on fresh ingredients and a come-as-you-are spirit that treats a curious first-timer and a longtime regular exactly the same. It's food that's adventurous without being precious, the kind that has earned the restaurant a cult following and a reputation as one of California's most singular places to eat.

    An open hardcover cookbook on a wooden barrel-top table, the right page reading "Chapter Three" above a black illustration of a figure and a snake, with the word "Sandwiches" below; the left page shows a black-and-white desert photo.
    Inside the cookbook, each chapter opens with its own illustration.
    (
    Sheva Kafai
    /
    Courtesy La Copine
    )

    That sensibility is now a cookbook. La Copine: New California Cooking from an Oasis in the Desert , written with James Beard Award–nominated author Ben Mims, translates the restaurant's dishes — and its philosophy — for the home kitchen.

    On June 25, Wadsworth and Hill bring it to Pasadena for Cookbook Live, an onstage conversation and live cooking demo presented by LAist in partnership with the James Beard Foundation. Wadsworth will also be giving a short performance under her alias St. Claire.

    The food

    The menu at La Copine refuses to sit still. Take the bánh mì, which started as a special, born from a craving for Southeast Asian flavors and an unwillingness to drive two hours to the San Gabriel Valley for the real thing. Their version leans indulgent: pork belly with a house five-spice-and-brown-sugar rub and yuzu kosho — a spicy Japanese citrus-chile paste — folded into house mayo. The galette complète, inspired by Gabrielle Hamilton's writing on the savory buckwheat crêpes of Brittany, is naturally gluten-free and built with ham, gruyère, a fried egg, and a tangy apricot gastrique. And the Sichuan noodles, a loose riff on dan dan, swap fermented black garlic for pickled mustard greens, tahini for Chinese sesame paste, and mushrooms for pork — vegan-friendly by design.

    Staying affordable for their community

    Beyond the food itself, Wadsworth and Hill consider affordability part of their mission at La Copine. In a town where, by their estimate, the median income is around $25,000, they aim to appeal to both diners accustomed to high-end prices and locals living on a fixed income.

    The pair share the story of one of their favorite regulars, Patty, who lives on Social Security and comes in once or twice a month. She's open about what she budgets — about $50 a visit for the salad Copine, a glass of wine, a panna cotta, and a cup of gazpacho. "Patty needs to be able to come in here and afford the meal," they say.

    Their goal, they say, is to make food so good that people forget what they spent, without making it so expensive that they're afraid to walk in.

    Three plates of dessert on a wooden kitchen pass — a panna cotta topped with cream, a dark spiced cake with nuts and cream, and powdered-sugar-dusted beignets — beside a row of order tickets.
    Dessert lined up on the pass — proof the sweet end of the menu gets the same care as everything else.
    (
    Sheva Kafai
    /
    Courtesy La Copine
    )

    Music + food

    When speaking with the La Copine couple, one thing becomes very clear: music is almost as central to the restaurant's concept as the food itself. Recalling the night they met, Hill says she was working a catering gig when Wadsworth put on a song by the band Devotchka — a group they both loved — a moment that signaled to each of them that they'd found their type. It now opens their cookbook.

    To them, music is "woven into the fabric of our restaurant."

    When it came to laying out the dining room, Wadsworth gave up a table to make space for a piano, so that she and visiting musicians could perform. She plays under the name St. Claire and hosts cabaret nights; a nomadic piano tuner now shows up to tune the instrument for free, won over by the fact that they sacrificed a table for it.

    Ultimately, what Wadsworth and Hill hope visitors take away has less to do with any single dish than with a state of mind. Slow down, they say. Take in the view. Do nothing for a while.

    "La Copine is a happy place in the universe," Wadsworth says.

    MORE INFO:

    When: Thursday, June 25, 7 - 8:15 p.m.
    Where: The Crawford, 474 S. Raymond Ave., Pasadena.
    Tickets: $0–$60 at laist.com/events
    Includes: A savory pre-show snack and a sweet post-show treat.
    Book purchase: La Copine: New California Cooking from an Oasis in the Desert can be pre-ordered with your ticket through bookseller partner Now Serving.

  • Superintendent resigns after four months on leave
    A man with medium light skin tone wears a dark suit and tie and speaks into a microphone at a podium. A number of adults in business clothes can be seen behind him in the background.
    Superintendent Alberto Carvalho has resigned as leader of the Los Angeles Unified School District.

    Topline:

    Superintendent Alberto Carvalho has resigned as leader of the Los Angeles Unified School District, four months after the FBI searched his home and office.

    Why now: A district spokesperson confirmed a letter of resignation from Carvalho on Sunday night. The reason for the timing wasn’t immediately clear.

    The backstory: FBI agents searched Carvalho’s home and office on Feb. 25. A Department of Justice spokesperson said the agency had a court-authorized warrant, but declined to provide additional details. Within days, LAUSD’s board voted unanimously to place Carvalho on paid administrative leave “pending investigation” and appoint longtime district administrator Andres Chait as acting superintendent. The district did not respond to LAist’s questions about whether the “investigation” referenced is federal or internal. Carvalho declared his innocence in a March statement and expressed a desire to return to his job.

    What's next: Chait remains acting superintendent, but the board is expected to take up a discussion of the district’s leadership at a meeting this Wednesday. The status of the federal investigation into Carvalho is unclear. The L.A. searches are linked to a search of a Florida home associated with the company LAUSD contracted with to create a short-lived AI tool.

    Why it matters: LAUSD’s superintendent is responsible for crafting a strategy for the education of nearly 400,000 students. The country’s second largest school district is confronting declining enrollment, the likelihood of further job cuts and fewer resources for high-needs schools.

    Superintendent Alberto Carvalho has resigned as leader of the Los Angeles Unified School District, four months after the FBI searched his home and office.

    "Placing students first has always guided my work," Carvalho wrote in his resignation letter, provided to LAist by his attorney. "Because I believe our schools must remain focused on students and learning without distraction, I am resigning as Superintendent of LAUSD effective today."

    A district spokesperson confirmed receipt of the letter Sunday night. The reason for the timing wasn’t immediately clear.

    "The Board remains steadfast in its commitment to ensuring stability, continuity, and continued progress through strong leadership," the district said in an overnight statement. "Our focus remains unchanged: providing every student with a high-quality education, supporting our dedicated workforce, and maintaining the trust of the communities we serve."

    The backstory

    FBI agents searched Carvalho’s home and office on Feb. 25. A U.S. Department of Justice spokesperson said the agency had a court-authorized warrant, but declined to provide additional details.

    Within days of the search, LAUSD’s board voted unanimously to place Carvalho on paid administrative leave “pending investigation” and appoint longtime district administrator Andres Chait as acting superintendent.

    The district did not respond to LAist’s questions about whether the “investigation” referenced is federal or internal. The L.A. searches are linked to a search of a Florida home associated with the company LAUSD contracted with to create a short-lived AI tool. Carvalho declared his innocence in a March statement and expressed a desire to return to his job.

    What's next?

    Carvalho has been superintendent of LAUSD since 2022, and the board renewed his contract in 2025. His tenure at LAUSD has included a number of achievements for the district: gains in test scores, increased participation in AP classes, a $9 billion facilities bond and progress on the rate of student attendance.

    "Our District’s executive leadership team valued achievement and equity and placed our most vulnerable students at the heart of our agenda," Carvalho wrote in his resignation. "During challenging times, we did so in a protective manner that benefited and honored all students."

    LAUSD’s superintendent is responsible for crafting a strategy for the education of nearly 400,000 students. The country’s second-largest school district is confronting declining enrollment, the likelihood of further job cuts and fewer resources for high-needs schools.

    Chait remains acting superintendent, but the board may take up discussion of the district’s leadership at a meeting this Wednesday. The status of the federal investigation into Carvalho is unclear.

    In Carvalho's absence, Chait has been responsible for negotiations with the district's labor unions — ultimately avoiding a massive strike by teachers, principals and staff — as well as a significant reduction-in-force plan. Still, in the past several decades, LAUSD has not chosen an interim superintendent to keep the role permanently.

    Senior editor Ross Brenneman contributed to this story.