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The Brief

The most important stories for you to know today
  • Artists ask labels to geo-block their music

    Topline:

    Since September, more than 1,000 artists and labels including Lorde, Björk and Massive Attack have joined an international initiative to remove their music from Israel. The boycott, called No Music for Genocide, is straightforward: artists are asking their labels and distributors to geo-block their music so it cannot be streamed in Israel.

    Why now: According to the movement's website, this act is "just one step toward honoring Palestinian demands to isolate and delegitimize Israel." Despite a fragile ceasefire currently in place, No Music for Genocide organizers say they're continuing the boycott amidst additional airstrikes in Gaza.

    Historic precedents: The No Music for Genocide movement, which is a decentralized volunteer network of musicians and labels, cites the success of cultural boycotts against South Africa during apartheid as a major inspiration. While artists like Hugh Masekela and Miriam Makeba made music a core tenet of anti-apartheid activism, international artists also played an important role. In 1985, E Street Band guitarist Steven Van Zandt led dozens of musicians, including Bruce Springsteen, Miles Davis and Rubén Blades, in the Artists United Against Apartheid effort to record "Sun City." The hit single referred to a luxury whites-only resort where artists including Queen and Linda Ronstadt had performed; the song's lyrics criticized their actions and pledged to avoid playing there until the end of apartheid.

    Since September, more than 1,000 artists and labels including Lorde, Björk and Massive Attack have joined an international initiative to remove their music from Israel. The boycott, called No Music for Genocide, is straightforward: Artists are asking their labels and distributors to geo-block their music so it cannot be streamed in Israel. According to the movement's website, this act is "just one step toward honoring Palestinian demands to isolate and delegitimize Israel." Despite a fragile ceasefire currently in place, No Music for Genocide organizers say they're continuing the boycott amidst additional airstrikes in Gaza.

    "Boycott is one of the most effective and enduring efforts that one can take to fight a militarized, overtly violent, three-headed monster of a system," blues poet Aja Monet, one of the participants, tells NPR. "We're in a place where capitalism rules everything. The most effective thing we can do is to be strategic about where we put our resources."

    The musicians' coalition coincides with a similar pledge from some Hollywood stars to boycott Israel's state-funded film industry. In September, an independent United Nations commission of inquiry concluded that Israel is committing genocide in Gaza, and that countries helping to arm the Israeli government, like the United States, are complicit in the violence. Israel strongly denies that it is committing genocide — and some Israelis say the artists' efforts are misguided, because the boycott affects even those who oppose the war. In a statement to NPR, the Israeli embassy in Washington, D.C. condemned the musician-led protest.

    "The attempt to boycott Israeli culture under the banner of 'No Music for Genocide' is discriminatory, immoral and misguided," reads the statement. "Such boycotts do nothing to advance peace or improve the lives of either Israelis or Palestinians. On the contrary, they deepen division and harm the very people they claim to support."

    Although the State Department also rejected the U.N. report, some American musicians are demanding action and accountability over the U.S. government's role in the attacks.

    "As a U.S citizen, I have a connection to this genocide that is happening using my tax dollars. As a musician, I am sensitive — I think that is necessary for making art," composer and singer-songwriter Julia Holter, another participant in the campaign, said in a statement shared with NPR. "Every day for over a year and a half now, we have seen horror stories abound in Gaza, and every malnourished baby I see with horrific injuries, every mother or father I see hovered over their child targeted by a sniper makes me think of my child, makes me think of anyone I have ever loved. I feel a responsibility to do something, however small it may be."

    Historic precedents 

    The No Music for Genocide movement, which is a decentralized volunteer network of musicians and labels, cites the success of cultural boycotts against South Africa during apartheid as a major inspiration. While artists like Hugh Masekela and Miriam Makeba made music a core tenet of anti-apartheid activism, international artists also played an important role. In 1985, E Street Band guitarist Steven Van Zandt led dozens of musicians, including Bruce Springsteen, Miles Davis and Rubén Blades, in the Artists United Against Apartheid effort to record "Sun City." The hit single referred to a luxury whites-only resort where artists including Queen and Linda Ronstadt had performed; the song's lyrics criticized their actions and pledged to avoid playing there until the end of apartheid.

    In 2023, artists ranging from Pedro Pascal to Quinta Brunson called for a ceasefire amidst the conflict in Gaza, but No Music for Genocide is a musician-led boycott. In a statement shared with NPR, vocalist, guitarist and boycott participant Marisa Dabice of the band Mannequin Pussy said mainstream artists could make a real difference.

    "Without the participation of major label artists, this boycott cannot grow in the way it needs to make the largest possible impact," she wrote. "We live in a day and age where unified direct action can make an impact —- we just have to be focused and unrelenting."

    The No Music for Genocide website notes that all three major U.S. labels — Sony Music, Warner Music Group and Universal Music Group — ceased operations in Russia shortly after the invasion of Ukraine and pledged to support humanitarian relief efforts. The group argues the same should be done on behalf of Palestinians.

    Yasir Razak of the shoegaze band Nabeel, one of the artists geo-blocking his music from Israel, says he sees a link between the war in Gaza and the way Western powers have historically intervened in the Middle East. Razak was born in Baghdad around the time of the first Gulf War and grew up in the U.S. during the Iraq War. Although the Iraq War and the current conflict are markedly different, he says, they're not entirely separate.

    "What makes me most sad is the idea that folks in other countries can't be seen," he says, adding that this is often the case with people from the Middle East. "We've gone to great lengths to dehumanize them to the point where we can carry out these kinds of attacks against the majority popular opinion."

    In September, a New York Times and Siena University poll found that a majority of American voters oppose continued U.S. economic and military support for Israel in the war, a reversal from public opinion shortly after the Hamas-led attacks in Israel on Oct. 7 in 2023, which killed 1,200 people according to the Israeli government. In July, a Gallup poll found that 60% of Americans disapprove of Israel's military actions in Gaza which have killed more than 67,000 Palestinians, according to the Gaza Health Ministry.

    Razak says he has mostly received positive feedback from his fans for participating in the boycott. One downside, he notes, is that some digital service providers include Israeli-occupied Palestinian territories in the geo-block as part of Israel. After hearing directly from an affected listener, Razak found a workaround to provide free downloads of his music on the music distribution platform Bandcamp. But he says beyond the logistics of where the music is or isn't accessible, there is an underlying anxiety that comes with publicly voicing his stance against the Israeli state. (Several artists NPR reached out to declined to comment on the boycott).

    "Ultimately, this is a humanitarian issue. We've all been seeing videos coming out of Gaza. We've heard members of the Israeli government speaking about what their intentions are. I think any right-minded person would look at that and say this is something to take a stand against," Razak says. "But the attempt to conflate that in any way with hatred or antisemitism has been so dangerous and paralyzing, and fear-inducing for those of us who really feel like there's a moral obligation for us to stand against."

    Backlash against musicians

    In April, Cornell University dropped R&B singer Kehlani as the headliner of a campus concert. In a statement, University President Michael I. Kotlikoff wrote that Kehlani "espoused antisemitic, anti-Israel sentiments in performances, videos, and on social media." Kehlani has been an outspoken advocate for Palestinians; the video for their 2024 song "Next 2 U" features a quote from Palestinian-American poet Hala Alyan, along with the phrase "Long Live the Intifada." (The Arabic word generally translates to "uprising" and has a long history within the context of the war in Gaza.)

    During their performance at NPR's Tiny Desk last year, Kehlani wore a keffiyeh — the traditional Arab headdress that's become a symbol for Palestinians — and stopped to address the audience. "I want to take a second to say: Free Palestine. Free Congo. Free Sudan. Free Yemen. Free Hawaii. Free Guam," Kehlani said. "It's deeper than this. I need everybody that's here right now, everybody that's watching, to step up, to use their voices."

    After Cornell's decision, New York nonprofit City Parks Foundation, which organizes the SummerStage concert series, also cancelled Kehlani's scheduled Pride performance following pressure from the mayor's office and citing "security concerns." Brooklyn-based rapper MIKE, who is participating in No Music for Genocide, curates an annual hip-hop festival in partnership with SummerStage. He tells NPR he cancelled this year's edition in solidarity with Kehlani.

    "You have to sacrifice for a bigger purpose," he says. "One of the things that I see people trying to do with hip-hop is further detach it from its political foundation, its anti-establishment foundation."

    MIKE says music played a key role in shaping his political awareness, and he hopes his involvement in the geo-block movement stirs something in listeners. He's already received messages from fans in Israel over the removal of his music; he says he hopes the boycott inspires deeper reflection on the oppression of Palestinians and all peoples.

    Impact on Israeli music fans

    But on the ground in Israel, the boycott has led to some confusion. Linda Dayan, a reporter for Haaretz based in Tel Aviv, says that while most participating artists' music has been pulled from SoundCloud, several discographies are still available on other streaming platforms like Spotify. Dayan says blocking the music is "just a punishment" for the many Israelis who have long-opposed the war in Gaza.

    "I think if [artists] really do want to make an impact, they should be putting their money behind their morals when it comes to either donating to initiatives that ensure that Gazans can get the aid that they so badly need, and organizations — especially within Israel — who are doing this work on the ground, who are organizing these protests," Dayan says.

    She points to groups like Standing Together, a grassroots organization of Palestinian and Jewish citizens of Israel working to promote peace and unity. Dayan says she worries that instead of bringing people together, the boycott could further alienate Israelis.

    "There is a really big narrative among the Netanyahu government and among factions of the right: 'They don't hate you because of what we do, they hate you because of who you are,'" Dayan says. "These boycotts that target wide swathes of people without considering the work that they're personally doing with Palestinians, the work that they are doing against the government or toward a just peace is giving credence to that idea."

    For several participating artists, No Music for Genocide is not an end-all solution, but they say it's an important form of nonviolent action. Aja Monet says the boycott is only one part of a much larger collective resistance.

    "Just as much as we're talking about what's happening in Palestine, we're talking about the rising state of fascism in this country," she says. "We're talking about poverty. We're talking about the books that are being banned. We're talking about the immigrant community that's being attacked and kidnapped from their homes in their street corners. All of this is from the same arm of violence and threat and terror. All of those things concern us and we want an end to it."
    Copyright 2025 NPR

  • Three bartenders, one night, classic vibes
    Vintage brass cash register illuminated on dark bar top, surrounded by rows of empty cocktail glasses and backlit shelves of liquor bottles in dimly lit speakeasy setting
    The Varnish's iconic vintage cash register, a symbol of the speakeasy era that defined downtown L.A.'s cocktail revival.

    Topline:

    A trio of bartenders who trained at The Varnish — the influential speakeasy once hidden behind Cole's — are reuniting for a one-night, classics-only pop-up at Firstborn in Chinatown. The event offers glimpse into the cocktail style that helped reshape L.A.'s drinking culture.

    Why now: This is the first time in years that multiple Varnish alums are reuniting behind one bar, arriving at a moment when interest in L.A.'s cocktail history has resurged. With holiday crowds in full swing, a classics-only menu also offers a grounding, back-to-basics counterpoint to the season's usual excess.

    Why it's important: The Varnish was a defining force in L.A.'s modern cocktail revival. The bar, which opened in 2009, brought Sasha Petraske's precise, curated, classic approach to cocktails — a counterpoint to the city's previous culture of showy and sweet drinks — and remains influential long after his passing.

    On Monday, Los Angeles travels back in time. Well, sort of.

    The Varnish, the famed speakeasy hidden behind a secret door at the back of Cole’s French Dip, will be reconstituted for one night only as part of a special pop-up at Firstborn in Chinatown.

    (Meanwhile, Cole's itself will be open through the holiday season, with its last night of regular service planned for Dec. 31.)

    The iconic bar, which shuttered in 2024 after a 15-year run, holds a special place in the hearts of many Angelenos, who believe it's where L.A.’s modern cocktail revival truly began. The event reunites three bartenders who all came up through The Varnish’s famously exacting school of cocktail-making. Kenzo Han (recently named Esquire’s Bartender of the Year) cut his teeth there before moving into roles that established him as one of L.A.’s most respected classic-cocktail technicians. Wolf Alexander and Miles Caballes emerged from the same pipeline.

    One night only

    A man with medium dark skin in tan button-down shirt and glasses standing behind bar with arms spread wide, backlit shelves of liquor bottles visible behind him.
    Kenzo Han, bar director at Firstborn and former Varnish bartender, is hosting two fellow Varnish alumni for the Monday pop-up.
    (
    Ron De Angelis
    )

    Han is now Firstborn’s bar director, where he leads a tight, classics-leaning bar program. The restaurant sits inside Mandarin Plaza, where chef Anthony Wang turns out playful comfort dishes with Chinese and American influences. It’s a lively, unfussy neighborhood hangout just off Broadway, surrounded by neon, noodle shops and family-style restaurants.

    The Varnish connection

    All three bartenders trace their lineage back to Sasha Petraske, who, in 2009, co-founded The Varnish with Eric Alperin and Cedd Moses, the owner of Cole’s French Dip.

    Petraske traded '90s flash for pre-Prohibition craft: fresh citrus over sour mix, precise technique over bottle tricks, elevating cocktails from party fuel to art form.

    The Varnish became the city’s clearest expression of Petraske’s cocktail philosophy, where his playbook of precision, restraint and quiet hospitality took root on the West Coast. (Petraske passed in 2015.)

    Han, Alexander and Caballes all trained in that environment, absorbing the Petraske rules of clean builds, tight technique and no-nonsense cocktails.

    What to expect

    For one night only, from 6-10 p.m., the trio will channel that tradition through a Varnish-style menu: curated classics only, no custom builds, with all cocktails priced at $20. Two featured drinks nod directly to the bar's lineage. The Spring Blossom — created at The Varnish — combines mezcal, French aperitifs, including Suze and Lillet Blanc, mole bitters and a grapefruit twist. Death & Taxes features scotch, gin, sweet vermouth, Benedictine (a herbal liqueur), Angostura and orange bitters, finished with a lemon twist.

    On the food side, chef Anthony Wang is reviving his cult-favorite Blood Orange Chicken Sando ($20), served with radicchio, alongside a limited run of his Shanghainese-style McRib ($24) — a playful, sweet-and-sour riff built around tender ribs and “all the stuff” that made the original such a guilty pleasure.

    A crispy fried chicken sandwich with sesame seed bun, orange pickled vegetables, and spicy sauce on a white plate against a turquoise tiled background.
    The blood orange chicken sandwich at Firstborn from chef Anthony Wang.
    (
    Ron De Angelis
    )

    Expect a casual, walk-in-only atmosphere where guests can grab a seat at the bar and let the cocktail nostalgia wash over them.

    Whether you were a Varnish regular or only heard the stories, this pop-up is a rare chance to see that style alive again — familiar faces, bespoke cocktails and the kind of muscle-memory bartending that defined an era of L.A. drinking culture. For newer drinkers, it’s a glimpse of the cocktail philosophy that shaped the city as we know it.

    It’ll likely get busy early, and the food specials may run out fast — but that’s part of the charm. The Varnish’s legacy has always been about small rooms, sharp precision and moments you catch only if you’re paying attention.

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  • Should LA charge more to opponents of new housing?
    A construction worker wearing a bright-green shirt, hardhat and jeans walking among the various wooden frameworks of houses.
    A construction worker walks through the Ruby Street apartments construction site in Castro Valley on Feb. 6, 2024. The construction project is funded by the No Place Like Home bond, which passed in 2018 to create affordable housing for homeless residents experiencing mental health issues.

    Topline:

    In the city of Los Angeles, neighbors or homeowner groups who choose to fight approvals of new housing are required to pay a fee when filing an appeal. Right now, that fee is $178 — about 1% of the amount the city says it costs to process the appeal. But that fee soon will go up.

    The details: On Wednesday, the L.A. City Council voted to increase the fee to $229 but rejected a proposal by the city administrative officer that would have raised the cost for appellants to more than $22,800, or 100% of the cost. Some advocates for making housing easier to build argued the city should have adopted the higher fee.

    Read on … to learn what developers will have to pay if they want to fight a project denial.

    In the city of Los Angeles, neighbors or homeowner groups who choose to fight approvals of new housing are required to pay a fee when filing an appeal.

    Right now, that fee is $178 — about 1% of the amount the city says it costs to process the appeal. But that fee soon will go up.

    On Wednesday, the L.A. City Council voted to increase the fee to $229 but rejected a proposal by the city administrative officer that would have raised the cost for appellants to more than $22,800, or 100% of the cost.

    Some advocates for making housing easier to build argued the city should have adopted the higher fee.

    “Appeals of approved projects create delays that make it harder to build housing and disincentivize future housing from being proposed,” said Jacob Pierce, a policy associate with the group Abundant Housing L.A.

    At a time when L.A.’s budget is strained, Pierce said, if someone thinks a project was wrongly approved, “They should put their money where their mouth is and pay the full fee."

    The City Council unanimously approved another new fee structure put forward by the city’s Planning Department.

    While fees will remain relatively low for housing project opponents, developers will have to pay $22,453 to appeal projects that previously had been denied.

    A November report from the city administrative officer said setting fees higher to recover the full cost of processing would have aligned with the city’s financial policies. Generally, fees are set higher when applicants are asking for a service that benefits them alone.

    “When a service or activity benefits the public at large, there is generally little to no recommended fee amount,” the report said.

    Pierce said he hoped a City Council committee would reconsider the higher fee proposal next year. With the city falling far short of its goal to create nearly a half-million new homes by 2029, he said the city needs to discourage obstruction of new housing.

    “Slowing down the construction of housing is expensive for all of us,” Pierce said.

  • Incoming ordinance may restrict their sale in LA
    A close up of a black printer that's printing out an image. A person's hand is visible in the corner grabbing onto the photo.
    A file photo of an ink-based printer.

    Topline:

    The L.A. City Council has voted to create a new ordinance that bans the sale of certain single-use ink cartridges from online and local retailers.

    Why now? L.A. is recommending that a ban target single-use cartridges that don’t have a take-back program or can’t be refilled. That's because they’re winding up in the landfill, where, L.A. Sanitation says, they can leach harmful substances into the ground.

    What’s next? The City Attorney’s Office is drafting the ordinance. It will go before the council’s energy and environment committee before reaching a full vote.

    Read on ... to see how the ban could work.

    Los Angeles could become the first city in the U.S. to ban ink cartridges that can be used only once.

    The L.A. City Council unanimously voted Wednesday to approve the creation of an ordinance that prohibits their sale. The move comes after more than a year of debate over the terms.

    Why the potential ban

    This builds upon the city’s effort to reach zero waste, including phasing out single-use plastics. You’re likely familiar with some of those efforts — such as only getting plastic foodware by request and banning single-use carryout bags at stores. Multiple plastic bans have been suggested, like for single-use vapes and bag clips, but now it’s ink’s turn.

    The cartridges are tough to dispose of because of the plastic, metal and chemicals inside, according to the city. They’re also classified as regulated waste in the state because they can leach toxic substances into the environment, such as volatile organic compounds and heavy metals.

    That poses a problem. L.A.’s curbside recycling program can’t recycle the cartridges, and while its hazardous waste program can take them, a significant portion end up in landfills.

    Major printer manufacturers and some ink retailers have take-back programs for used cartridges so they can get refilled. However, L.A. Sanitation says there are certain single-use cartridges that don’t have recovery programs. These are usually cartridges that work with a printer but aren’t name brand.

    How outlawing them could work

    LASAN has spent months figuring out what a ban would cover — and it hasn’t been without pushback. The city’s energy and environment committee pressed the department back in September on how effective a ban would be.

    Ultimately, the committee moved it forward with a promise that LASAN would come back with more details, including environmental groups’ stance, concrete data to back up the need and a public education plan.

    The department’s current recommendation is that the ordinance should prohibit retail and online establishments from selling any single-use ink cartridge, whether sold separately or with a printer, to people in the city. Retailers that don’t follow the rules would get fined.

    So what does single-use mean here? The ban would affect a printer cartridge that:

    • is not collected or recovered through a take-back program
    • cannot be remanufactured, refilled or reused
    • infringes upon intellectual property rights or violates any applicable local, state or federal law

    Any cartridges that meet one of these points would fall under the ban, though you still could get them outside L.A.

    The proposed ordinance will go to the committee first while LASAN works on a public education plan.

    If it ends up getting approved by the full council, the ban likely would go into full effect 12 months later.

  • Dominguez Hills campus may drop 6 programs
    A large sign made of individual letters that spell out "CSUDH" in maroon and yellow. Below is a sign that reads "California State University, Dominguez Hills."
    Cal State Dominguez Hills faces significant budget pressure.

    Topline:

    Faculty, students, alumni and community partners are demanding the California State University, Dominguez Hills, administration withdraw a proposal to eliminate six academic programs.

    What might be cut: The six programs in question are art history, earth science, geography, labor studies, philosophy and “Negotiation, Conflict Resolution and Peacebuilding.”

    Why it matters: In addition to fewer academic options, according to the California Faculty Association — the union that represents CSU professors, lecturers, librarians, counselors and coaches — an estimated 40 jobs will be eliminated at Cal State Dominguez Hills if this plan is approved.

    What the university says: "The university’s current financial constraints limit our ability to invest in new or expanded programs that could meet those needs," university spokesperson Lilly McKibbin said via email.

    She added that no final decisions have been made and that the process to end a program would give faculty a chance to "review data and hear from the campus community."

    What educators say: “These programs are not expendable — they are essential,” said Stephen McFarland, a labor studies professor at the campus and a CFA executive board member. “Eliminating them would narrow students’ opportunities at a moment when they need more pathways, not fewer.”

    The backstory: The CSU system is facing a $2.3 billion budget gap, despite tuition increases. The gap is rooted in cuts to state funding and increased labor costs. The university did not immediately respond to a request for comment.

    Go deeper: Cal State offers bigger raises to campus presidents while cutting elsewhere