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The Brief

The most important stories for you to know today
  • Police agencies fall behind in reporting
    Several lines of police in helmets and other riot gear face off with protesters, many in hard hats and masks
    A tense standoff at UCLA has officers begin making arrests and dismantling a pro-Palestinian encampment in May 2024.

    Topline:

    A 2021 law requires California law enforcement agencies to make public reports about their use of chemical agents and less-lethal weapons at protests. But LAist found that hundreds of agencies do not appear to document the use of less-lethal weapons. The extent of that documentation varies from agency to agency, making it difficult to hold law enforcement accountable when something goes wrong.

    Why it matters: Civil rights attorneys and experts told LAist that monitoring the use of chemical agents and less-lethal projectiles at protests is important because, despite their name, these weapons are dangerous.

    Who is responsible: While the California Department of Justice is responsible for posting all such reports on a public website, the agency says it's not responsible for making sure they're written or evaluating their contents. Compliance with the law is left entirely up to the agencies — some of which told LAist they don’t have staffing or capacity to manage.

    What lawmakers say: Cristina Garcia, a former state Assembly member from Bell Gardens and primary sponsor of the law, said it should be up to the DOJ to make sure that’s happening.

    Read on... for more on what LAist found with compliance and reporting issues.

    The last thing David Ramirez remembers, he was protesting peacefully at a pro-Palestinian encampment at UCLA in the early hours of May 2, 2024.

    Then, he said everything seemed to move in slow motion, and there was “nothing but ringing” in his ear.

    Imperfect Paradise Main Tile
    Listen 24:29
    After the George Floyd protests of 2020, California took steps to reign in violent policing of protests by passing laws restricting how law enforcement uses less-lethal weapons, like tasers and rubber bullets. But high profile protests in 2024 and 2025 – including this summer’s protests against the ICE raids in Los Angeles – have revealed major flaws in those laws. LAist Senior Editor Jared Bennett joins us to talk about an investigation around these flaws and what they mean for people exercising their right to free speech.

    Why California's protest law is flawed and the consequences to protesters
    After the George Floyd protests of 2020, California took steps to reign in violent policing of protests by passing laws restricting how law enforcement uses less-lethal weapons, like tasers and rubber bullets. But high profile protests in 2024 and 2025 – including this summer’s protests against the ICE raids in Los Angeles – have revealed major flaws in those laws. LAist Senior Editor Jared Bennett joins us to talk about an investigation around these flaws and what they mean for people exercising their right to free speech.

    He’d just been shot in the head with a less-lethal projectile by law enforcement officers while they cleared the encampment. Ramirez described his experience at a news conference this past May.

    “My first instinct was to remove the foreign object, but it triggered profuse bleeding,” he said while standing in front of a poster bearing the image of his wound.

    In 2021, California lawmakers passed a law that was supposed to prevent injuries like the one Ramirez sustained. The law, Assembly Bill 48, forbids law enforcement from targeting peaceful protesters with chemical agents and less-lethal projectiles like the 40mm kinetic energy projectiles that injured Ramirez. Officers also aren’t supposed to aim less-lethal projectiles at the head.

    Ramirez and three other people suing law enforcement over the violent response to the 2024 campus protests say officers with the Los Angeles Police Department and California Highway Patrol broke state law that day.

    The law requires that agencies report on their use of less-lethal weapons and resulting injuries. More than a year later, Ramirez still doesn’t know who fired the projectile that hit him in the head, and neither agency has reported injuring any protesters while clearing the encampment.

    Four years after California lawmakers tried to rein in violent policing at protests, Ramirez’s lawsuit and more recent protests against federal immigration raids have put law enforcement’s actions under a microscope and revealed major gaps in enforcement of California’s existing protest laws.

    LAist found that hundreds of agencies do not appear to document the use of less-lethal weapons, as required by law. The extent of that documentation varies from agency to agency, making it difficult to hold law enforcement accountable when something goes wrong.

    While the California Department of Justice is responsible for posting all such reports on a public website, the agency says it's not responsible for making agencies write the reports or evaluating what’s in them. Compliance with the law is left entirely up to the agencies — some of which told LAist they don’t have staffing or capacity to manage.

    Cristina Garcia, a former state Assembly member from Bell Gardens and primary sponsor of Assembly Bill 48, said she and other lawmakers passed the law to protect the rights of Californians, and said it should be up to the DOJ to make sure that’s happening.

    “Is this [law] being implemented properly, are we meeting expectations, are we breaking promises? That should be asked of the DOJ,” she said. “If we don’t have enforcement, do we really have a law?”

    What the law says

    California lawmakers passed Assembly Bill 48 after seeing the police response to protests in the summer of 2020 that followed the murder of George Floyd by a Minnesota police officer.

     Still from LAPD body camera footage, showing officer shooting Benjamin Montemayor with a projectile.
    Still from LAPD body camera footage, showing officer shooting Benjamin Montemayor with a projectile during the protests of 2020.
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    Courtesy LAPD
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    Under AB 48, officers are only allowed to deploy crowd control tools — including chemical agents or less-lethal projectiles — in response to violence, physical threats or to an “objectively dangerous and unlawful situation.”

    The law forbids authorities from aiming at protesters' heads, neck or vital organs, or firing indiscriminately into a crowd.

    The same year AB 48 became law in 2021, U.S. District Judge Consuelo B. Marshall issued a court order placing similar restrictions on the LAPD, specifically.

    Civil rights lawyers told LAist in June that the LAPD and other agencies responding to protests that month against federal immigration enforcement appear to have violated this law and the court order. They’ve secured a separate court order forbidding the LAPD from targeting journalists and filed several lawsuits on behalf of protesters.

    The law gives agencies 60 days to publish reports about their use of force at protests. The LAPD missed this deadline to report on their response to the protests in June on Aug. 5.

    LAPD has not responded to repeated questions about the delayed report.

    The LAPD’s website does include reports on previous protests. And the department is among just 32 out of the 624 law enforcement agencies in California that have sent crowd control reports to the California Department of Justice.

    LAist reviewed news reports and police documents and found several instances where agencies used less-lethal weapons during protests, yet no crowd control records were posted online as required by state law.

    In one instance, an LAPD officer allegedly shot a man in the jaw with a less-lethal projectile on June 8. While LAPD has started conducting an internal investigation into the incident, a report has yet to be generated. It’s been 93 days since the man was shot.

    San Francisco police officers fired pepperballs, a form of less-lethal projectile with a chemical irritant, while responding to anti-immigration enforcement protests on June 8, according to news reports. The agency does not appear to file AB 48 reports with the California Department of Justice, and LAist has been unable to locate any such reports on the agency’s website.

    The San Francisco Police Department has not yet responded to a request for comment.

    In another, UC Riverside PD documented using a less-lethal weapon during a joint response during UC Berkeley’s pro-Palestinian protests in a separate report, yet has not created an AB 48 report for that incident.

    UC Riverside Police Lt. Jason Day said his small department didn’t have the capacity to compile the reports.

    “A lot of times things are just going to have to get set aside,” he told LAist.

    Law enforcement officers stand in formation in an intersection. Some are holding guns. It's dark outside.
    LAPD creates a perimeter to move back anti-ICE protesters on San Pedro Street on June 9, 2025.
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    Carlin Stiehl/Los Angeles Times via Getty Images
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    Los Angeles Times
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    Documenting injuries

    Civil rights attorneys and experts told LAist that monitoring the use of chemical agents and less-lethal projectiles at protests is important because, despite their name, these weapons are dangerous.

    “They absolutely are lethal weapons. They’ve killed people, they've permanently disabled people, caused really significant and substantial injuries to people,” said Rebecca Brown, an attorney who is representing Ramirez and other plaintiffs in a lawsuit against agencies for allegedly misusing less-lethal weapons. “These should not be brought to a protest in the first place.”

    Dozens of injuries have been documented by news organizations, on social media and in lawsuits from the May 2 protest where Ramirez was injured.

    The LAPD and CHP both filed reports about their use of force at the UCLA protest, but neither documented any injuries as a result of less-lethal weapons.

    Carlena Orosco, an assistant professor of criminal justice at California State University, Los Angeles, said the nature of protest response, where multiple agencies often respond to incidents together, makes it difficult to document injuries.

    “There are going to be data limitations when it comes to not only identifying categories of injuries, but also ensuring that they are reported comprehensively and accurately… especially when we think of a crowd situation,” she said.

    For Brown, law enforcement’s failure to fully document the injuries they cause shows a lack of enforcement.

    During the pro-Palestinian demonstrations, Brown said “CHP and LAPD did not put any effort into identifying who they hurt, identifying what their injuries were, what kind of treatment they needed.” Without an enforcement mechanism making sure they report injuries, she said law enforcement agencies are “only going to report on that when they have to.”

    LAPD has not responded to multiple requests for comment. A spokesperson for the CHP said the agency could not comment due to pending litigation.

    Who’s responsible?

    Garcia, the former Assemblymember and lead sponsor on Assembly Bill 48, said it should be up to the California Department of Justice to make sure agencies are reporting what they need to comply with the law.

    The DOJ doesn’t see it that way. The law requires the department to compile and publish a list of AB 48 webpages from all law enforcement agencies. But according to the DOJ's spokesperson, Elissa Perez, the law doesn’t ask the agency to do anything else by way of enforcement.

    “The bill [AB 48] does not include requirements for DOJ to review, audit, or enforce law enforcement agency requirements,” Perez wrote to LAist.

    The law also does not outline repercussions for non-compliant agencies.

    According to the California Commission on Peace Officer Standards and Training, which sets selection and training standards for California law enforcement, agencies are responsible for complying with the law, but there’s no repercussions if they don’t.

    “The way the law is written, there is no stated enforcement mechanism,” Meagan Poulos with the commission wrote to LAist in an email. “The individual agencies are responsible.”

    Orosco of Cal State LA said while it’s crucial to ensure law enforcement agencies follow the law, it would be difficult for the DOJ to check what is written in the reports filed by individual departments.

    “I don't know how they would go about reviewing every department's information,” she said.

    Without proactive enforcement of the law, LAist found there are few options for citizens to hold agencies accountable for their use of weapons at protests.

    Officers who violate internal department policy can be punished, but those investigations often take years.

    Civil lawsuits can also take years and the financial burden ultimately falls to the taxpayer. Los Angeles has so far paid $20 million to resolve lawsuits stemming from the LAPD’s response to protests in 2020.

    Garcia said lawsuits like those cost taxpayer dollars and threaten existing services for constituents, so city officials should be interested in making their police departments follow the law.

    Five years after Assembly Bill 48 became law, Garcia says proper enforcement requires constant partnership between cities, police departments, the DOJ, the media and constituents.

    “Compliance and accountability is a constant, ongoing situation,” she said. “It's never a one-and-done. It's a partnership.”

    Watchdog Editor Jared Bennett contributed to this report.

  • Can the industry recover from recent turmoil?
    a woman stands on a dock and works with a rope
    Sarah Bates pulls lines to adjust a trolling mast aboard her boat, the Bounty, at Fisherman’s Wharf in San Francisco on March 20.

    Topline:

    Three years of cancelled salmon seasons have devastated the industry. Now, salmon fishing is expected to finally reopen. Will it be enough for the industry to survive?

    The background: California experienced its driest three year stretch in history from 2020 through 2022 — worsening that burden and causing populations to plummet. Interstate fisheries managers cancelled commercial salmon fishing for an unprecedented three years in a row, and barred recreational fishing for all but a handful of days last year. The financial damage was severe. California estimated the closures cost nearly $100 million in lost coastal community and state personal income during the first two years alone.

    Why it matters: The fishing industry says these numbers vastly underestimate the economic and human costs: Boats went to the crusher, tourists took their money to other states, suppliers went out of business and fishers fled California or the industry altogether. “This was a tremendous, avoidable hit. We have survived droughts throughout recent history, but none had impacts this drastic,” Vance Staplin, executive director of the Golden State Salmon Association, said in an email.

    Read on ... for more on the struggling industry and hopes for a rebound.

    After three years of unprecedented closures that devastated California’s fishing industry, commercial salmon fishing is poised to reopen this spring.

    The return comes with a catch: Regulators at the interstate Pacific Fishery Management Council will strictly constrain fishing dates and impose harvest limits for both commercial and recreational fishing to protect the threatened California Coastal Chinook. The council is set to finalize the details this weekend.

    It’s not the season the fleet had hoped for after years of closures. But those who survived the shutdowns fear a graver threat: state and federal decisions could reshape California’s water systems and rivers.

    “Water policy in California is about to change drastically and irreversibly, and nobody has the energy to pay attention to that,” said Sarah Bates, who fishes commercially from San Francisco. “I am concerned that salmon is going to be (commercially) extinct in our lifetimes.”

    For the first time since 2022, Bates was preparing her century-old boat, the Bounty, docked at Fisherman’s Wharf. She ticked off the boat’s needs: an oil change, a hydraulics check, a run-through of the steering system, the anchor. Her fading fishing permit, now four years out of date, still clings to the outside of the cabin.

    “Pay no attention to my paint job,” Bates said. “Try not to make my boat look bad.”

    Looking at its cracking paint and tangled ropes, Bates — who wrestles waves and weather for a living and uses a fishing float dented by a massive shark bite — seemed a little daunted by the tasks ahead.

    Without income from salmon, Bates allowed critical upkeep to lag. “There's been a lot of deferred maintenance,” she said. “I'm actually a little worried about everybody charging out into the ocean in May to go fishing.”

    ‘A tremendous, avoidable hit’

    Salmon is king in California. It’s what keeps the markets and restaurants buying, the industrial-scale ice machines running, the tourists booking charter boats and visiting the coast.

    “It’s iconic,” said retired charter boat captain John Atkinson. “We have people who will fish every week for salmon. And for the other species, they come out once.”

    But dams, water diversions, low flows and poor ocean conditions have driven decades of decline.

    California experienced its driest three year stretch in history from 2020 through 2022 — worsening that burden and causing populations to plummet. Interstate fisheries managers cancelled commercial salmon fishing for an unprecedented three years in a row, and barred recreational fishing for all but a handful of days last year.

    The financial damage was severe. California estimated the closures cost nearly $100 million in lost coastal community and state personal income during the first two years alone.

    The fishing industry says these numbers vastly underestimate the economic and human costs: Boats went to the crusher, tourists took their money to other states, suppliers went out of business and fishers fled California or the industry altogether.

    “This was a tremendous, avoidable hit. We have survived droughts throughout recent history, but none had impacts this drastic,” Vance Staplin, executive director of the Golden State Salmon Association, said in an email.

    First: Fisherman’s Wharf in San Francisco on March 20, 2026. Last: Sunlight pours through a window of the Bounty, a commercial fishing vessel, on March 20, 2026. Photos by Jungho Kim for CalMatters Sarah Bates, a commercial salmon fisher, stands at the wheel of her boat, Bounty, at Fisherman’s Wharf in San Francisco on March 20, 2026. Photo by Jungho Kim for CalMatters California has requested disaster assistance from the U.S. Secretary of Commerce. But federal aid has come slowly, and fallen short. The U.S. government has released only $20.6 million, and only for the 2023 closure.

    “The entire framework for fishery disasters has to be totally redone,” said U.S. Rep. Jared Huffman, a California Democrat and ranking member of the House Natural Resources Committee. “We need something that is much faster, that is less political, that doesn’t depend on all the vagaries of multiple federal agencies and congressional appropriations.”

    Rain, but little respite

    The rains returned in 2023 — bringing the flows and cool water young salmon need to survive and complete their ocean migration.

    Now, the Pacific Fishery Management Council projects that roughly 392,000 Sacramento River fall-run Chinook salmon are swimming off the coast. These are the mainstay of California’s salmon fishery — and the forecasts are better than last year’s, though still a fraction of the millions that returned historically. But the limited fishing season is not the respite that the industry had counted on.

    “We're happy to get some fishing this year,” Staplin, of the Golden State Salmon Association, said, “but if we want to preserve the businesses and families that define California's coastal and inland salmon economies, we need a little compromise and balance in prioritizing water during droughts.”

    A plan or a patch?

    Two years ago, Gov. Gavin Newsom released a plan aimed at protecting salmon from climate change.

    The plan received mixed reactions.

    Some scientists and members of the fishing community credited state agencies and the Newsom administration with concrete efforts like hatchery upgrades and cutting-edge genetic fish tagging. One$58 million state and federal effort — the Big Notch Project — connected salmon and other fish to prime floodplain habitat in the Yolo Bypass through seasonal gates.

    “Anything that can be done is a help right now,” Atkinson said.

    But others say that the strategy papers over policies that rob salmon of the cold water they need. California is built around nature-defying engineering that funnels vast amounts of water away from rivers to supply cities and the state’s $60 billion agricultural economy.

    “As soon as it stops raining or snowing, we’re going to be back in the same situation with the salmon season closing,” said Jon Rosenfield, science director at The San Francisco Baykeeper. “If we don’t protect river flows and cold water storage, then we’re not protecting salmon.”

    Some of the fiercest fights are over the contentious Delta tunnel and Newsom’s controversial deal with major water users, backed by $1.5 billion in state funding, to overhaul how farms and cities take water from the Sacramento-San Joaquin Delta and the rivers that feed it.

    Carson Jeffres, a senior researcher at the UC Davis Center for Watershed Sciences, takes a more moderate view — the effect on salmon will depend on how California agencies manage these projects, but the status quo isn’t an option.

    “I just don't see a world where the salmon are prioritized over human water needs — and I think we should plan for it,” he said. “Then that might be a more sustainable place.”

    On top of state policies is a Trump administration that called for “Putting People over Fish” and adopted a plan in December to send more Northern California water to Central Valley farms.

    State wildlife officials said at the time that President Donald Trump’s actions “run counter” to California’s efforts to improve salmon populations, “harming the California communities that rely on salmon for their livelihood."

    California Secretary of Natural Resources Wade Crowfoot acknowledged the state’s finite water supply can’t satisfy everyone’s priorities.

    “There’s no shortage of finger pointing by some groups who argue that not enough water is remaining in our rivers for salmon and aquatic habitat, and other groups that suggest that not enough water is being diverted for California communities and agriculture,” Crowfoot said.

    “Water management in California,” he said, “involves balancing water across these needs.”

    Last year, the Newsom administration announced that nearly 70% of the salmon strategy’s action items were underway, and more than a quarter were already complete.

    That’s “crazy math … What is your outcome measure?" said Bates. "For us, our outcome measure is enough fish to go fishing.”

    Adapting to survive

    In the absence of enough fish, the industry has been piloting new strategies to survive.

    Back at Fisherman's Wharf, a few rows over from Bates, Captain Virginia Salvador was getting ready to take a group out to troll for halibut and striped bass. Her French bulldog, Anchovy, wandered the deck between the ropes.

    Salvador started her charter boat business, Unforgettable Fishing Adventures, during the salmon shutdown — and had to quickly expand her offerings.

    Now, she runs barbecue and barhopping cruises around San Francisco Bay and takes passengers to McCovey Cove during Giants games. She teams up with food influencer Rosalie Bradford Pareja to offer a chef experience. And she still holds down a second job working in a hospital pathology laboratory.

    “When you rely on a natural entity for your income, you have to learn how to deviate, pivot, expand,” Salvador said.

    Captain Virginia Salvador on her boat, Unforgettable, at Fisherman’s Wharf in San Francisco on March 20, 2026. Photo by Jungho Kim for CalMatters Where the front row of charter boats line the street like storefronts, Bates’ row at Fisherman’s Wharf has the feeling of a neighborhood. One fisherman clambered down the ladder to Bates’ boat, where they swapped great white shark stories. Bates hollered to another neighbor every time a tourist wandered down the dock, bucket in hand, looking to buy fresh crab.

    This neighbor, a tattooed and lanky and exhausted fisherman named Shawn Chen Flading, had been out all night. His 12 hour mission to retrieve crab pots turned into a 26 hour ordeal when his throttle cable broke.

    At the time Flading bought his boat, before the shutdowns, it looked like a pretty good living.

    “A lot of people — the older generation — put their kids through college, bought their homes. And it just disappeared,” Flading said. “I lost basically half my revenue for the past three years straight.”

    He tries to fill the gap by advertising on social media and selling Dungeness crab directly off his boat. But the crab season, too, he said, has been disappointing.

    Now, salmon fishing is once again on the horizon.

    “Whatever limited opportunity we have for salmon, at least we're getting the ball rolling,” Flading said to Bates across the water between their boats, over the San Francisco mix of cars, construction and seagulls. “Without that, we're just stuck.”

    Bates, leaning on the railing of her own boat, agreed. “I really understand why people are upset,” she said. “But also, I'm so excited to catch some fish. Even though it's not enough. It’s not even close to enough.”

    This article was originally published on CalMatters and was republished under the Creative Commons Attribution-NonCommercial-NoDerivatives license.

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  • Now what?

    Topline:

    The crew of NASA's Artemis II mission are safely back on Earth after a nine-day mission took them on a trip around the moon and back, sending humans deeper into space than ever before.

    The backstory: To come home safely, the crew — NASA's Reid Wiseman, Victor Glover, Christina Koch, and Canadian Space Agency astronaut Jeremy Hansen — and its capsule had to endure near-record-breaking entry speeds and temperatures up to 5,000 degrees Fahrenheit.

    What's next: Even before the Artemis II crew splashed down, work had begun at the Kennedy Space Center in Florida to prepare for the next mission. NASA is preparing to move the launch platform for Artemis II back into the Vehicle Assembly Building next week to begin putting together the rocket for Artemis III.

    The crew of NASA's Artemis II mission are safely back on Earth after a nine-day mission took them on a trip around the moon and back, sending humans deeper into space than ever before.

    To come home safely, the crew — NASA's Reid Wiseman, Victor Glover, Christina Koch, and Canadian Space Agency astronaut Jeremy Hansen — and its capsule had to endure near-record-breaking entry speeds and temperatures up to 5,000 degrees Fahrenheit.

    The Orion spacecraft spent 13 and a half minutes falling through the atmosphere, hitting a top speed of more than 30 times the speed of sound.

    Orion performed as designed. The capsule's heat shield protected the crew, and a series of parachutes helped the capsule gently splash down in the Pacific Ocean off the coast of San Diego.

    With that landing, the mission came to a close, clocking more than 700,237 statute miles, said Artemis II entry flight director Rick Henfling.

    Four members of the U.S. Navy Dive team pulled the crew from the capsule. Helicopters plucked them from a raft outside their spacecraft — called the porch — and within 24 hours of splashdown, they'll arrive at the Johnson Space Center in Houston.

    "We did it. We sent four amazing people to the moon and safely returned them to Earth for the first time in more than 50 years," said NASA's Lori Glaze, who leads the Artemis programs. "To the generation that now knows what we're capable of: Welcome to our moonshot."

    The crew's flight path took them around the far side of the moon at around 4,000 miles above the surface.

    The crew made a number of geological observations and took thousands of photos to help scientists better understand what the moon is made of – and where it might have come from.

    But perhaps the most profound vantage point came from looking back at home.

    "Trust me, you are special, in all of this emptiness," said Glover, "This is a whole bunch of nothing, this thing we call The Universe. You have this oasis, this beautiful place that we get to exist together."

    The Artemis II mission was a critical test flight for the Orion spacecraft, which will carry future Artemis astronauts, including those that will venture to the lunar surface.

    The crew tested key systems of the spacecraft — its life support system, maneuverability, its heat shield, the toilet. What NASA learns from this flight will set future lunar missions up for success.

    "Part of our ethos as a crew, and our values from the very beginning were that this is a relay race," said Koch "In fact, we have batons that we bought to symbolize physically, that we plan to hand them to the next crew, and every single thing that we do is with them in mind."

    That next crew will come soon. NASA administrator Jared Isaacman accelerated the Artemis program, charging the agency with launching an Artemis mission each year.

    Even before the Artemis II crew splashed down, work had begun at the Kennedy Space Center in Florida to prepare for the next mission.

    NASA engineering operations manager John Giles oversees the Crawler-Transporter, the massive vehicle that moves the mobile launch pad, and the SLS rocket that launches Orion, from the Vehicle Assembly Building to the launch site. His team is preparing to move the launch platform for Artemis II back into the Vehicle Assembly Building next week to begin putting together the rocket for Artemis III.

    "We really haven't had too much time to relax and reflect on Artemis II, other than thinking what a perfect accomplishment it was," said Giles. "Moving right into Artemis III. No rest for the weary. It's moving on."

    A key part of the Artemis III SLS rocket — the core stage fuel tank — is heading to Kennedy Space Center later this month. Parts of the solid rocket motors are already there.

    Artemis III aims to launch next year. It'll stay in Earth orbit while testing spacecraft that are designed to land humans on the moon. The following mission, Artemis IV, could bring humans to the lunar surface, for the first time since 1972.

    Copyright 2026 NPR

  • Here's your guide

    Topline:

    Welcome to Coachella 2026.

    Why it matters: Coachella is the spring break of the music world: a pair of long weekends in the California desert, featuring over 100 acts across eight stages spanning too many genres to count, from vintage groups mounting reunions to the biggest pop stars on the planet to rising talents with viral hits.

    Why now: Nearly the entire event is streamed live via YouTube, starting Friday afternoon. But even if you're watching from home, the prospect of mapping your route through the weekend in order to catch the greatest possible collection of live experiences can be overwhelming.

    Read on ... for our picks.

    Coachella is the spring break of the music world: a pair of long weekends in the California desert, featuring over 100 acts across eight stages spanning too many genres to count, from vintage groups mounting reunions to the biggest pop stars on the planet to rising talents with viral hits. Nearly the entire event is streamed live via YouTube, starting Friday afternoon, which makes the prospect of catching more acts easier — you don't have to sprint across the grounds of Indio's Empire Polo Club to make it from one set to the next. But even if you're watching from home, the prospect of mapping your route through the weekend in order to catch the greatest possible collection of live experiences can be overwhelming.

    To help, three members of NPR Music's team have sifted through the lineup to identify a day-by-day guide. Below, you'll find must-see acts and recommendations to ensure you catch the artists you should prioritize when set times conflict. (Note: All set times listed below are Pacific.)

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    Matt Winkelmeyer
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    Getty Images
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    FRIDAY

    Plan by Dora Levite

    Must see:
    "Young millionaire, man, I feel like Weezy," says fakemink on his recent EP The Boy who cried Terrified ., a ramp-up to his upcoming album. The 20-year-old London prince of SoundCloud rap has racked up enough well-deserved hype through a steady stream of excellent hyperpop singles and star-studded cosigns (SZA, Drake, Frank Ocean, Ecco2K) to sustain a massive North American tour bookended by Coachella on one side and Lollapalooza on the other.

    Naturally, fakemink's hype has sparked a slew of online discourse, which has seemingly had the effect of splitting his fan base in two: day-one devotees who insist the rest of the world is late, and new appreciators who feel their precious attention is what brought him to the global sphere. Regardless of where you fall, this is the must-see set of the day — a chance to hear some of his very best music and to figure out, if you even care, where you stand in his fandom.

    Day plan:
    The best way to prepare yourself for a day at a music festival is to establish your stage loyalties early. Start with Doom Dave's DJ set at 1 p.m. at the Sonora stage, then release all your pent-up festival anxiety with a cathartic scream when Las Vegas screamo band Febuary takes over.

    At 2:10 p.m., I'd watch the Cahuilla Bird Singers and Dancers at the Gobi tent, a Coachella staple for the past few years. At 2:50 p.m., the pop star of the hour, Slayyyter, comes on for her first show with a live band since her excellent new album WOR$T GIRL IN AMERICA. Head back to the Sonora stage at 3:40 p.m. to catch the majority of Wednesday's set — the North Carolina band released one of the greatest rock albums of 2025 and is a guaranteed stellar live show.

    After that, things get complicated. Start with Lykke Li on the Outdoor Theatre stage at 5:20 p.m.; last time she played Coachella in 2015, she was a festival highlight, and now with new music on the horizon, she's likely to feed the nostalgia the festival loves and bring some more sparkling pop. Head over to Mojave no later than 5:50 to hopefully see Central Cee close out his set with "Sprinter" (cross your fingers for a Dave cameo). Before Dijon starts at the Outdoor Theatre at 6:40 p.m., you'll have time to see the first bit of CMAT, a fresh face in country-tinged theatrical pop, on the Gobi stage.

    Next, of course, is fakemink — the buzziest name of the day. 7:20 p.m. on the Gobi stage.

    From there it all falls into place: Turnstile (8:05 p.m., Outdoor Theatre, bound to be a great energy boost), Sabrina Carpenter (9:05 p.m., Main stage, every person should see "Manchild" live once in their life), Ethel Cain (10:35 p.m., Mojave tent, the Coachella haunting experience), and finish the night with Blood Orange (11:55 p.m., Mojave — maybe recent collaborator Brendan Yates of Turnstile will skip over from the Outdoor Theatre to join the fun).


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    Frazer Harrison
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    SATURDAY

    Plan by Sheldon Pearce

    Must see: 
    There is something thrilling about watching Alex G strap on an accordion mid-song for "June Guitar," from last year's Headlights, during a gig, and that alone might be worth the price of a Coachella ticket. (OK, probably not, but definitely worth seeing on a livestream for free.) The only thing preventing the DIY king turned major-label convert from being the can't-miss performance of Saturday is a last-minute addition: 2025 Rock Hall inductee Jack White, who joins the first weekend as a surprise set at the Mojave tent. He likely won't play "Seven Nation Army" — so what. You don't even really have to like his last few albums to appreciate him live. It's the one forum where his finicky guitar ways always pay off big — he will grab three to four axes, rotate through them across the set, and shred like he's playing to scrape together bus fare out of Indio.

    Day plan:
    To get the best Saturday experience, start your stream at 2:40 p.m. with the first 20 minutes of Blondshell's set at the Outdoor Theatre before flipping over to catch Jack White in the Mojave tent.

    Stretch your legs, grab a bite, walk the dog, then tap in for Ecca Vandal, a South African-born, Melbourne-raised punk-rock rapper who plays the Sonora stage at 4:20 p.m. Hit Alex G (5:10 p.m., Outdoor stage) and the gripping (and polarizing) band Geese (6:15 p.m., Gobi) back to back.

    You can opt in or out of best new artist Grammy shortlister Sombr's 7:05 p.m. set at the Outdoor theatre — maybe you want to see what all the hype is about or maybe you need to step away from the screen for a spell — before embracing the exuberant Afropop pioneer Davido (7:50 p.m., Gobi).

    In the first major conflict of the day, catch PinkPantheress at 8:55 p.m. in the Mojave tent instead of The Strokes over on the main stage; sure, she's nostalgic for the era the band got famous in, but her time is now, post-Fancy That? and her Alysa Liu cosign. If you're really yearning for post-punk revivalists from NYC's aughts indie scene, have no fear: Interpol is on at Mojave right after. Then stay up late for whatever Swag hijinks Saturday headliner Justin Bieber has planned for the main stage.


    (
    Matt Winkelmeyer
    /
    Getty Images
    )

    SUNDAY

    Plan by Anamaria Sayre

    Must see: 

    My friends: Little Simz. This something-for-everyone artist who retains her own unmistakable flair has graced the desert stage before, appearing in tiny print on the 2019 poster and making a guest appearance with Gorillaz in 2023. On Sunday, the U.K. rapper is back with space to release the full Simz flow on a much larger stage.

    Simz has always had a gift for taking a live opportunity to hit you over the head with her rapid-fire flow. She unleashes venom with impressive control and is always certain to mix equal parts slam and R&B. In this late afternoon solo slot, she could have an opportunity to fill out her set with a tight live band or maybe sneak in some strings, all the better to represent a sound that gets bigger and brighter with each new record.

    Day plan:

    The desert is a marathon, not a sprint. You've made it to Sunday (whether on the ground or virtual) so you're well-versed in pacing. We have to start out slow and maybe a little sad, so first stop is Samia (playing the Mojave tent at 3:15 p.m.), leading directly into Little Simz on the same stage.

    From there, keep the energy up by hopping over to Clipse (5:15 p.m., Outdoor Theatre) for what's sure to be a performance as gripping as their off-kilter beats. Do a quick flip halfway through to make it over to the Sonora stage by 5:50 p.m. for the last half of Los Retros. It's sure to be sonic whiplash, given that these young romantic crooners bring living room vibes, but it's worth the sprint, and anyway, by this point in the weekend you're a pro at juggling disparate sounds. When that's over, if you wanna lean into the mood shifts and go for one more heart-rate spike via hardcore cleanse, you can just make the last 15 minutes of Suicidal Tendencies back at the Mojave tent.

    Take a little breather, get some sustenance, and hop back to it for some straight-from-Norway dance floor flair with Röyksopp. If you're watching the live stream, you may have to skip the Norwegian gathering (Yuma stage isn't currently included on the YouTube schedule) and trade it for a bumping party closer to home — Georgia-bred rapper Young Thug on the main stage.

    Now we're sprinting to the finish: You'll split time at a pair of worthwhile overlapping sets by starting with avant-garde English singer FKA twigs (innovation is twigs' most tried and true mode of being, so there's certain to be something we've never seen before), and (if you can tear yourself away before the end) moving on to catch the end of Chicago's own French Police. Close out the night on the main stage, starting at 9:55 p.m. with the first Latina to ever headline Coachella, la bichota herself, Karol G.

    Copyright 2026 NPR

  • The history of how a sign ruled the Sunset Strip
    A billboard with a cowboy smoking a cigarette for Marlboro above another billboard featuring a pair of legs.
    The Marlboro Man billboard above Sunset Boulevard.

    Topline:

    The Marlboro Man billboard used to tower over L.A. at the entrance of the Sunset Strip in West Hollywood. It was an ad for the cigarette maker, but over the years had become a landmark for the city.

    Why it matters: The sign came down in 1999 after Big Tobacco and a number of state attorneys general reached a settlement that mandated a ban on outdoor tobacco advertising.

    Read on … for a history of the Marlboro Man sign in L.A. and why the Sunset Strip was its perfect home.

    It was the end of an era for a sign of the times.

    On a rainy March day in 1999, a 70-foot billboard perched at the doorstep of the Sunset Strip was taken down and trucked away. That spot on Sunset Boulevard and Marmont Lane had long been the home of the rough-hewn, lasso-toting Marlboro Man — so much a fixture it became part of the glitz and glam of L.A.

    "It was such an iconic ad — such a tall billboard with this very handsome image up there," said John Heilman, current and then-mayor of West Hollywood. "Right there by the Chateau Marmont and near a lot of music venues that we have up on Sunset."

    A number of giant billboards along a busy street.
    Billboards along the Sunset Strip, including one for Marlboro, in December 1985.
    (
    Paul Chinn
    /
    Los Angeles Herald Examiner Photo Collection / LAPL
    )

    That's how I came to know about these larger-than-life Marlboro billboards, going to the Roxy and the Whiskey to see shows, and to the Sunset Tower Records for music in the 1990s. I didn't know it at the time, the image apparently changed every couple of years, but the vibe was so consistent it felt like one, long seamless spell.

     "When you came in on Sunset, that is what you saw," said Neil Ford, head of sales for central U.S. and the West Coast at Big Happy, a digital and mobile ad agency based in Chicago. "It really captured what out-of-home [advertisement] was at that moment, what it meant."

    A giant billboard of a cowboy smoking a cigarette holding a lasso for Marlboro.
    The Marlboro billboard on Sunset Boulevard.
    (
    Elisa Leonelli
    /
    Courtesy Elisa Leonelli
    )

    Ford said the campaign was groundbreaking — advertising at its most effective.

    "You think about that image of the Marlboro Man. It was a different size, it had presence and it captured your attention," Ford said.

    It was a gamechanger for Philip Morris. Sales for Marlboro hit $5 million in 1955, a more than 3,000%  increase a year after its debut.

    In other words, it attracted more smokers.

     "It was obvious that the image of the rugged Marlboro Man encouraged generations of men to smoke," said Paul Koretz, a former West Hollywood council member who was at the sign on that March day to celebrate its fall.

    The total pivot

    Hypermasculinity aside, Marlboro was originally marketed to women as a luxury brand peddling a mild flavor when it was introduced in the 1920s.

    The pivot came three decades later, when the company was looking for a way to sell men on filtered cigarettes, long considered effeminate and less flavorful.

    Enter Chicago ad man Leo Burnett, who engineered what many consider one of the greatest brand reinventions of all time by creating a new series of mascots — not just butch cowboys, but tough-as-nail sailors, hunters, businessmen, sportsmen, writers.

    At the end, the cowboy won out, becoming the brand's reigning Marlboro Man.

    " They brought this masculine symbol — image, visual — and really re-created what Marlboro as a brand meant," Ford said. "And it just was one image, there was very little copy. It had the logo on it. It was its own creation at the time."

    The campaign propelled Marlboro to the top of the domestic industry by the 1970s, even as the toll on public health from the use of tobacco products racked up.

    The Centers for Disease Control estimates that some 480,000 people in the U.S. die every year from cigarette smoking, including exposure to second-hand smoke. At least four actors who portrayed Marlboro Man died from smoking-related diseases.

    In 1971, the U.S. banned cigarette advertising on television and radio. Brands then shifted to other mediums, in particular billboards.

    The Sunset Strip

    A color photograph of a street scene from 1980 at night. Billboards line the street, including one advertising for Jazz Singer and one for Marlboro cigarettes.
    A street view looking west from the northern side of Sunset Boulevard near Chateau Marmont at night. In the background is the billboard for Marlboro.
    (
    Carol Westwood
    /
    Los Angeles Photographers Photo Collection / LAPL
    )

    The 1.7-mile stretch of Sunset Strip in West Hollywood has never been a stranger to grabby billboards. In fact, it was where the medium became art.

    "It's always been known for very creative advertising," Heilman, West Hollywood’s mayor, said.

    Its golden era was arguably the 1970s, when giant, hand-painted rock ‘n’ roll signs lined the Strip, a veritable checklist of who’s who in the music world.

    A night scene on a busy street. The moon is full. And cars are packed on the street. A number of billboards line the street.
    Various billboards on the Sunset Strip and Horn Avenue during a full moon in June 1980.
    (
    Roy Hankey
    /
    Los Angeles Photographers Photo Collection / LAPL
    )

    The phenomenon started in 1967, with Elektra Records taking out a billboard to promote the debut album of a little-known local band called The Doors.

    Two years later, The Beatles’ "Abbey Road" appeared, followed by Led Zeppelin, Joni Mitchell, Bob Dylan, The Rolling Stones and Bruce Springsteen.

    The era came to a close in the 1980s with the advent of MTV, which changed the playbook of music marketing, says photographer Robert Landau in his book, Rock 'n' Roll Billboards of the Sunset Strip.

    "Other types of billboards focusing on the entertainment industry were very popular," Heilman said. "A lot of the new movie releases, new album releases, new product releases."

    And the Marlboro Man stood amid this hit parade in one of the most commanding spots on The Strip since at least the late 1970s.

    "As I recall, at one point they actually had steam coming out of it to simulate smoke," said Heilman, who has lived in West Hollywood for more than four decades.

    The billboard predates the incorporation of West Hollywood as a city in 1984. Helping to lead the cityhood efforts was Koretz, who went on to become a City Council member for West Hollywood before serving on the state Assembly and the Los Angeles City Council.

    "I actually lived near the Sunset Strip, so I thought about it every time I drove by," he said of the Marlboro Man ad. "It was one of the most effective symbols of tobacco marketing."

    Both his parents, Koretz said, were heavy lifelong smokers who died from the addiction.  As a lawmaker, Koretz led a number of anti-smoking efforts, including a smoking ban in restaurants in West Hollywood — as well as a near total ban on tobacco advertising in the city.

    A giant billboard of a cowboy riding a horse for Marlboro cigarettes.
    Large billboard of the Marlboro Man, located on the Sunset Strip at Marmont Lane in West Hollywood, circa 1985.
    (
    Carol Westwood
    /
    Los Angeles Photographers Photo Collection / LAPL
    )

    That ban was passed in the final months of 1998, just before a settlement agreement between the nation's biggest tobacco companies, including Philip Morris, and dozens of state attorneys general. The $206 billion deal settled lawsuits filed by the states to recoup health care costs for smoking-related illnesses. It also banned youth marketing, as well as outdoor advertising.

    As a result, Los Angeles's most famous Marlboro Man stepped down on March 10, 1999 — about a month before the official removal deadline.

    That day, Koretz held a news conference to send the sign off. He said not everyone was happy to see the landmark go. But the ban, among a slew of other anti-smoking policies, have made an impact.

    Last year, the American Cancer Society reported cigarette smoking among U.S. adults dropped from  42% in 1965 to 11% in 2023.

    " It was always controversial. There are always people that didn't like it," Koretz said of the billboard ban. "This is largely a success story."

    Shortly after, a new billboard went up in the place of the Marlboro Man on Sunset.

    It was still a cowboy, looking eerily similar to its fallen predecessor, but with a limp cigarette hanging from his mouth.

    Instead of Marlboro, it read, "Impotent."