The Brief

SAN DIEGO — A private jet carrying a music talent agent and five others hit a power line in foggy weather early Thursday and crashed into a San Diego neighborhood, slamming into a home and killing multiple people on the flight.

With the home engulfed in flames and jet fuel rolling down the streets, half a dozen vehicles ignited while residents in the neighborhood of U.S. Navy-owned housing were shaken awake just before 4 a.m. by the thunderous crash and subsequent explosions. Out their windows, they saw a wall of fire.

"I can't quite put words to describe what the scene looks like, but with the jet fuel going down the street, and everything on fire all at once, it was pretty horrific to see," San Diego Police Chief Scott Wahl said.

No one in the neighborhood died, but eight were taken to the hospital for smoke inhalation and injuries that were not life-threatening, including a person who was hurt climbing out a window, police officer Anthony Carrasco said.

Dave Shapiro, co-founder of Sound Talent Group, and two employees were among those killed, the music agency said in a statement. Sound Talent Group has represented artists including American pop band Hanson, American singer-songwriter Vanessa Carlton and the Canadian rock group Sum 41. Hanson is perhaps best known for its earworm 1990s pop hit, "MMMBop." Shapiro also owned Velocity Records.

"We are devastated by the loss of our co-founder, colleagues and friends. Our hearts go out to their families and to everyone impacted by today's tragedy," the agency said.

Six people were on board the plane, according to the Federal Aviation Administration. Authorities were still combing the scene and recovering the bodies before releasing an official number and identifying the dead, though there were not believed to be any survivors aboard the flight.

Daniel Williams, former drummer for metal band The Devil Wears Prada, posted on his Instagram on Wednesday afternoon that he was boarding the plane with Shapiro. The band posted a tribute to Williams on their Instagram page.

"No words. We owe you everything. Love you forever," the band wrote.

A representative for the band referred to their social post when asked about Williams' death.

Parts of Shapiro's 1985 Cessna 550 Citation littered a large area, including fragments under the power lines and a section of wing on a road behind the homes, said Elliot Simpson of the National Transportation Safety Board.

Neighborhood hit hard

The home that was struck was destroyed, with its front heavily burned and its roof partially collapsed, and about 10 others were damaged in Murphy Canyon, the largest neighborhood of Navy-owned housing in the country, officials said.

Ben McCarty and his wife, who live in the home that was hit, said they felt heat all around them.

"My wife was screaming, and she's like, 'There's a fire,'" McCarty, who has served in the Navy for 13 years, told local ABC affiliate KGTV.

When he walked toward the front of the house, he saw that the roof had fallen off and flames blocked their exit. They grabbed their children and dogs and ran to the back, where their neighbors helped them climb over the fence to escape.

Police help rescue dogs from a home after a small plane crashed into a San Diego neighborhood earlier, setting several homes on fire and forcing evacuations along several blocks, Thursday, May 22, 2025.

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The plane also hit both of the couple's vehicles, which burned.

"It put my truck into our living room," McCarty said.

Other vehicles along the block were melted and scorched into burned shells. One stubborn car fire sent smoke billowing up for hours.

Ariya Waterworth said she woke up to a "whooshing sound" and then saw a giant fireball outside. She screamed for help as firefighters arrived and helped her get out with her two children and their family dog.

One of the family's cars was "completely disintegrated," and the other had extensive damage. Her yard was littered with plane parts, broken glass and debris.

"I definitely do feel blessed, because we've been spared," she said.

At least 100 residents were evacuated. Hours after the crash, jet fuel rolled down Salmon Street. The smell of fumes lingered throughout the day, and officials said it was unclear when it would be safe for people to return.

"We have jet fuel all over the place," Assistant San Diego Fire Department Chief Dan Eddy said.

Eddy added that the fog was so thick in the morning that "you could barely see in front of you."

The plane originated from a small New Jersey airport

The flight took off from Teterboro, New Jersey, near Manhattan, at about 11:15 p.m. Wednesday and made a fuel stop in Wichita, Kansas, before continuing on to San Diego, according to Simpson.

Based on the flight path, it was bound for Montgomery-Gibbs Executive Airport when it struck power lines about 2 miles (3.2 kilometers) southeast of the airfield, Simpson said.

Audio recorded by www.liveATC.net includes a brief transmission from the pilot saying he was on final approach to the airport and was about 3 miles (4.8 kilometers) out at 3:45 a.m.

NTSB investigators planned to spend Thursday and Friday at the scene gathering evidence, Simpson said. He welcomed video or other details from any witnesses.

The plane was attempting to land in foggy weather

At that hour and in foggy weather, the plane was likely operating on an instrument flight rules plan, which is typically used during reduced visibility, said Barry Newman, a board-certified aviation attorney.

However, for that airport, once an aircraft reaches 673 feet (205 meters), the pilot also has to rely on sight.

"If a pilot descends to that level and he can't see the runway, he has to call for a missed approach or divert to another airport," Newman said.

In October 2021 a twin-engine plane plowed into a San Diego suburb, killing the pilot and a UPS delivery driver on the ground and burning homes. It was preparing to land at the airport.

And in December 2008, a Marine Corps fighter jet slammed into a house in San Diego's University City neighborhood, causing an explosion that killed four people inside. The Marine Corps blamed the crash on mechanical failure and human error.
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A large plume of white smoke billowed out of a cold storage facility on Friday afternoon, two days after the fire first ignited at the Boyle Heights warehouse.

Residents near the facility on S. Los Palos Street reported smelling came out of their homes to see the smoke and vehicles driving in that direction turned around as it appeared that the fire reignited shortly before 5 p.m.

Firefighters were at the scene dousing the building.

The fire broke out Wednesday, prompting an hours-long shelter-in-place order due to hazardous materials, including ammonia.

The South Coast Air Quality Management District early Thursday afternoon extended a particle pollution advisory until at least 12:30 p.m. Friday for an area including Boyle Heights, central Los Angeles, and parts of Northeast LA following Wednesday’s fire.

Early monitoring showed particles were generally present at background levels, AQMD said, but for several seconds at a time, they found increased levels of bromine and chlorine.

“Bromine and chlorine are typically found at trace levels during structural fires and the levels seen were below short-term health-based exposure thresholds,” AQMD said. “Concentrations below this level are not expected to cause adverse health effects. No significant levels of air toxic metals were seen.”

This is a developing story. We are working to get more information from authorities.

SEATTLE — For days, questions about the health of star winger Christian Pulisic's left calf had loomed large over the U.S. men's national soccer team: After being kicked in the leg during last week's Paraguay game, would he be available in the pivotal second U.S. game of the FIFA World Cup?

In the end, it didn't matter.

The U.S. dominated Friday's match against Australia, winning 2-0 even as Pulisic, who was ultimately deemed unavailable before kickoff, watched his teammates from the sidelines.

The scoring started early when American striker Folarin Balogun streaked down the left side of the field and powered a pass into the penalty area, where Australian defender Cameron Burgess booted it into his net for an own goal in the 11th minute.

"I want to be dangerous. I want to create opportunities. And it might not always be myself that scores, but if I can force an error that gives us the lead, for me that's like a goal as well," Balogun said. "It was a special start to the game to give us the momentum, and then I think we carried it out."

The U.S. added a second goal when defender Alex Freeman knocked in a header just before halftime. The chippy match resulted in seven total yellow cards, three for the U.S. on defenders Antonee Robinson and Chris Richards and Balogun.

After the game, U.S. head coach Mauricio Pochettino praised his team and their approach. "We build the victory in our attitude," he said.

The win guarantees that the U.S. will advance to the knockout stage of the tournament, and it puts the Americans in the driver's seat to win Group D. That would set up the team for a more advantageous path through the knockout round, which begins Sunday, June 28.

Cristian Volpato #20 of Australia and Weston McKennie #8 of the United States battle for the ball during the team's World Cup Group D match on Friday in Seattle.

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About 90 minutes before kickoff, Pochettino told Fox that Pulisic would be unavailable due to the nagging left calf injury suffered last Friday. "It is hoped, as soon as possible, [that he] can be ready to be selected again to be part of the team," Pochettino said.

In his place, forward Ricardo Pepi made the start on the left side. For Freeman, his first career World Cup goal was the latest step in a remarkable trajectory for a 21-year-old player who made his first appearance for the U.S. national team just over a year ago. 

It was unclear whether Pulisic would be available for the third and final U.S. group stage game, a match against Turkey set for next Thursday.

Whether that game will matter depends on the outcome of Friday night's Turkey-Paraguay matchup; if Turkey draws or loses, the U.S. is guaranteed the top spot. If Turkey wins, that sets up next week's head-to-head game to determine the group winner.

Turkey, whose roster features stars like Arda Güler of Real Madrid and Kenan Yıldız of Juventus, had been considered by some analysts to be the strongest team in the group.

The U.S. victory over Australia was the second win in the group stage — the first time the American men have done that in a World Cup since 1930.
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Bernard Brown grew up going to parties all around Los Angeles. Maybe a little before he was supposed to.

“I won't say my age. I don't wanna get nobody in trouble,” he joked. “But I went to clubs like The Catch — The Catch One — and The Study on Hollywood and Western and places like that that are no longer with us.”

Brown went on to become a contemporary dancer and choreographer, and he remembers watching those dancers, and the tenderness they had for each other. He told LAist that was exactly what informed his new art installation and dance performance, “Sissies: Something Perfect Between Ourselves,” at the Pieter Performance Space this Juneteenth weekend.

“ I thought a lot about how intergenerational learning was starting to slip away, and what does it mean to learn how to be a Black queer person?” Brown said. “Where are those spaces, and how did I learn how to be this way? And so making this work has been about this labor, this love, this intergenerational learning, and also community.”

What to expect

“Sissies” has two components: an installation on view Friday through Sunday, and a dance performance featuring some of L.A.’s most prominent dancers and voguers this Saturday night at 8:30 p.m.

Rosalie Tucker, director of Pieter Performance Space, said this will look a little different from other dance performances you may have been to.

“The invitation to everyone who is a guest in the show, who has bought a ticket is: Let it go,” she said. “Let yourself be in the club. React. You don't have to be quiet. This isn't a silent setting. This is not a traditional theater setting, and that is intentional.”

That’ll culminate after the performance, when the audience will also be invited to join the dancefloor.

If you can’t make it to the performance, the installation will also be on view in the afternoon throughout Juneteenth weekend. Brown told LAist he also hopes to find a permanent home for the archives and exhibits he’s amassed.

The inspiration behind ‘Sissies’

Normally, projects of this kind involve archival research, and that’s certainly a big part of the work. But for Brown, who was actually there at clubs watching vogue practitioners work the dancefloor, the research process looks a little different.

Brown calls the work “autoethnographic” — that’s to say, a big part of what you’ll see is based on his own experiences watching others over the decades.

“ We're talking about vogue, all of the elements: hand performance, floor performance, catwalk, duck walk,” Brown said. “All of those things appear in the work, but it's based on the truth, uh, and the authenticity of our people.”

The themes in Brown’s work resonated with Tucker, especially in this political moment.

“What we're seeing is our histories being not just erased, but violently erased, and, uh, excluded and lied about,” she said. “So we really have, I think, a responsibility to the future, to ourselves, to claim the truth of, this is what happened then, this is what's happening now.”

Brown’s collaborators

Los Angeles has a long history of queer Black underground clubs and events, one that continues to this day in underground parties and warehouse shows.

“ Bernard has built this with the people who are the Black underground in Los Angeles as well, so it's not just like a theoretical thing,” Tucker said.

Many of Brown’s dancers have performed with people like Beyoncé, but they’re also artists doing their own thing. The score for the show is by DJ DeFacto X, a co-founder of Black Bass Collective, a staple of L.A.’s warehouse scene.

“They are creating their own work,” Brown said. “They are making spaces where people congregate, and they're doing the Lord's work in that regard, finding their way to the movement of our queer ancestors.”

Though Brown won’t be performing in the show, he said he’s moved when he sees younger people go through the same movements as the voguers and other dancers he used to see in clubs.

“I am filled with joy — literal joy — and sometimes tears at how beautiful it is to see Black queer men being together intimately, folding into each other their individual kikis and lalas that happen during performance, the authenticity of their visceral connection to each other,” he said.

LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as "Cheers," "Taxi," "Friends" and "Will and Grace," died Friday. He was 85.

His family confirmed his death in a statement to People, saying he "passed away peacefully today surrounded by his family." No location or cause of death was provided.

Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

Burrows got his start in television relatively late at age 35 in 1974, directing episodes of "The Mary Tyler Moore Show," "The Bob Newhart Show," and "Laverne & Shirley."

He co-created "Cheers," directing 243 of the 273 episodes, as well as all 246 episodes of "Will and Grace."

He also helmed multiple episodes of such hits as "Frasier," "Friends" and "Mike & Molly," and the pilots of "Two and a Half Men" and "The Big Bang Theory."

"When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers," Burrows wrote in his 2022 memoir "Directed by James Burrows." "Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh."

His family said, "Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

"But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated," the family statement said.

Born James Edward Burrows on Dec. 30, 1940, in Los Angeles, he moved to New York when he was 5 years old. He spent five years in the Metropolitan Opera Children's Chorus until his voice started to change. He attended LaGuardia High School of Music & Art.

His father was writer, director and producer Abe Burrows, whose Broadway hits included "Guys and Dolls" and "Can-Can." The elder Burrows also mentored Larry Gelbart, future creator and producer of the TV show "M(asterisk)A(asterisk)S(asterisk)H."

The younger Burrows spent hours of his youth in theaters and studios watching his father work, dining with him at such famed New York haunts as Sardi's and Gallagher's and meeting celebrities who attended his father's New Year's Eve parties.

After earning a bachelor's degree from Oberlin College, Burrows attended the graduate program of the Yale School of Drama, where his classmates included actor-comedian Robert Klein, playwright John Guare and film director John Badham.

At Yale, he was required to take directing classes and he got hooked.

Burrows' first sitcom experience was as Burl Ives' dialogue coach on "O.K. Crackerby!" which was directed by his father and ran for one season on ABC in 1965.

From there, he was an assistant on "The Patty Duke Show." He moved back to New York and worked for Broadway producers Lee Guber, Frank Ford and Shelly Gross. He first met actor Moore while working on the Broadway production of "Holly Golightly," an adaptation of "Breakfast at Tiffany's" that was directed by his father.

Burrows eventually worked as a stage manager for various road productions, where he met such actors as Hugh O'Brien, Zsa Zsa Gabor and Julie Harris.

By 1974, after working in dinner theater and summer stock, he turned on his television and saw Moore's eponymous TV show. He wrote her a letter asking if there was any opening "small or smaller" at her production company that he could fill, according to his memoir.

Moore's husband and business partner, Grant Tinker, invited Burrows to Los Angeles to direct an episode of the comedy. He apprenticed for MTM Enterprises, which had four sitcoms on the air at the same time.

Burrows cited his theater background for learning how to give actors direction and block out scenes. He's credited for being one of the first sitcom directors to increase the typical multi-camera television shoot from three to four cameras.

The common thread between Burrows' shows were the bonds between friends and unrelated families, whether it was the motley crew of regulars meeting at the bar in "Cheers" or the drivers working toward a better life in "Taxi" or the 20-somethings sharing the same apartment building in "Friends."

"The best sitcoms transcend the screen and reach out and grab the audience by the throat and by the heart," Burrows wrote in his memoir.

He relished discovering new acting talent while directing more than 75 pilots that were picked up as series.

"Having directed over a thousand shows means that almost any night you can turn on your television or go online and find a show that I directed. I'm very proud of that," he wrote in his memoir.

In 2019, Burrows was an executive producer on live productions of "All in the Family" and "The Jeffersons" with famous actors re-creating episodes of those 1970s comedies.

Burrows was married in 1997 to Debbie Easton, whom he met when she worked as a hairstylist on "Frasier." Daughters Kat Schatzow, Ellie Gluck and Maggie Burrows, who followed her father into directing, are from his first marriage to Linda Solomon, who died in 2004. His stepdaughter Paris is from his wife's previous marriage. He has a sister, Laurie Burrows Grad, and seven grandchildren.
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