The Brief

This story first appeared on The LA Local.

Drive down Manchester Boulevard in Inglewood, and you’re likely to see WOW Media digital billboards — from slender, curved signs planted in medians to massive LED screens that stretch across streets — that some residents have called eyesores.

What’s less visible is that those billboards are at the center of a corporate power struggle that may be headed to the ballot this November.

On one side: WOW Media, which has a financial partnership with the City of Inglewood that could be worth tens of millions of dollars as an aggressive expansion of its billboard network comes online. The city has not publicly endorsed or opposed the ballot proposals backed by WOW, and Mayor James Butts declined to comment on those initiatives.

On the other: the operators of SoFi Stadium, the Intuit Dome and the Kia Forum — who want the billboard network gone and have their own advertising interests in the stadium district.

Both the billboard company and stadium operators have turned to the same weapon: Petitions to put initiatives on voters’ ballots.

WOW is bankrolling proposals to cap stadium parking fees and raise taxes on event tickets. The stadium operators are pushing a measure to gut the city’s billboard program and the deal with WOW. Each side frames its campaigns as protecting Inglewood residents.

But none of these measures appear to be financed by community members. The money needed to persuade voters is coming from business interests who have major stakes in the upcoming World Cup, Super Bowl and Olympics.

This fight goes back to lawsuits between the city and stadium-linked businesses, including those tied to Stan Kroenke’s SoFi Stadium as well as Steve Ballmer’s Intuit Dome and Kia Forum. Last year, those businesses sued after the Inglewood City Council approved an exclusive contract with WOW Media to build and operate more than 100 digital billboards along some of the city’s busiest streets.

Shortly after that, Mayor James Butts wrote directly to Stan Kroenke seeking to ease tensions with Hollywood Park, where SoFi Stadium is located, and questioned whether a prior development agreement was still valid.

Now, as the city gears up for these major sporting events, the dispute has expanded from a fight over advertising control into a broader debate over public space and city revenue.

WOW Media is the main funder of the Inglewood Residents for Stadium Accountability committee. It is backing two proposals: a cap on stadium parking rates and a tax on event tickets.

Stadium-linked businesses are backing a proposal that would roll back or eliminate the city’s billboard program and end its exclusive agreement with WOW.

Those same stadium-linked businesses backing the billboard blight initiative are also behind some of the city’s most visible and controversial digital advertising displays on stadium properties, which have changed Inglewood’s streetscape in recent years.

A person walks past a digital billboard on Prairie Ave. in Inglewood on Saturday, April 18, in Los Angeles, Calif.

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Outside these campaigns, WOW already operates large digital billboards across the city, including its “Spectaculars” and twisting digital kiosks along major corridors.

The company promotes them as advertising space for audiences drawn to major sporting events. It has built its brand around aggressive marketing ahead of the city’s upcoming global sports calendar.

In a February Instagram post, WOW wrote: “You need Digital Spectaculars that match the energy. You need massive real estate. You need WOW,” alongside a video clip of a soccer ball bouncing through Inglewood streets.

Taken together, campaign filings, interviews and reporting by The LA Local suggest both sides are fighting not only over policy measures, but over control of high-value advertising space in Inglewood.

When asked why WOW was backing initiatives apparently unrelated to its billboard network, CEO Scott Krantz said the company is pushing for stadium operators to contribute more to the city.

“Our commitment has always been to invest in Inglewood, and that commitment goes far beyond our network,” Krantz wrote, adding that WOW wants Inglewood to remain a strong and financially stable “City of Champions.”

Inside the stadium admissions tax initiative

At the center of one of the competing measures is a proposal to change how Inglewood taxes stadium tickets.

Inglewood has long relied on ticket taxes for revenue. But when the Staples Center opened in 1999 and the Lakers and Kings left the Forum, collections fell from about $700,000 to $225,000. By 2009-10, they were down to $20,000.

That changed with the stadium boom, including SoFi Stadium and the Intuit Dome.

A digital billboard is seen on Manchester Avenue at Spruce Avenue in Inglewood on Saturday, April 18, 2026, in Los Angeles, Calif.

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Dania Maxwell

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By 2022–23, the city collected $23 million in admissions tax revenue, boosted by major events including the NCAA football national championship game and WrestleMania. Admissions taxes from all ticketed events accounted for nearly 9% of the city’s general fund, according to budget documents.

A cap limits how much the city can collect. Under current rules, each venue pays up to $15 million annually.

The proposed Inglewood Fair Share Admissions Tax Tier Reform and Cap Removal Initiative, funded by WOW media, would eliminate those caps and restructure how venues are taxed.

If approved, it would set a 2.5% ticket charge for mid-sized venues, while larger venues like SoFi Stadium would continue paying 10% per ticket, but without the $15 million cap.

What the parking fee initiative would mean on game days

Above Mel Garcia’s neighborhood, the Intuit Dome looms over the rooftops like an alien spacecraft. On game days, streets are crowded with vehicles.

“The parking is wild, a lot more traffic,” Garcia said. Sometimes he sees residents renting out driveway spots, other times he sees visitors trying to sneak into street parking spaces.

Another proposal, the Parking Price Transparency and Anti-Price-Gouging Initiative, would cap parking near stadiums at $20 per vehicle. It is also funded by WOW Media.

The initiative claims the cap would bring more stability to game days and push drivers toward commercial lots instead of residential streets.

Tens of thousands of vehicles can enter the city during NFL games and concerts, and the city issues an average of 41 parking tickets per major event, according to city documents.

Most city parking fines range between $50 and $70, about the same as the cheapest listed parking around the stadium for some Rams games.

Stadium parking prices can climb into the hundreds of dollars, as they have for the FIFA World Cup this summer.

The city has continued to adjust. On May 12, the City Council approved an ordinance allowing churches and some businesses with large lots to sell parking spots during events.

A signature battle to the ballot

Signature gathering — and signature removal — have also become part of the broader fight.

WOW-backed canvassers appear to have been collecting signatures for initiatives that would cap stadium parking rates and raise taxes on event tickets while also asking voters to withdraw support from the rival campaign seeking to curb WOW’s billboard network.

The LA Local obtained photos of a petition asking voters to remove their names from the Billboard Blight Elimination and Neighborhood Preservation Initiative.

The LA Local obtained photos of a petition asking voters to remove their names.

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Courtesy of the Blight Elimination and Neighborhood Preservation Initiative

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The Inglewood City Clerk confirmed the petition had been filed but did not respond to questions about when it was submitted, who filed it or how many signatures it sought to remove from the rival campaign.

When asked about the effort, Krantz, the WOW CEO, did not directly confirm involvement but also did not deny it. Instead, he argued the city’s stadium businesses have created an “uneven playing field” that benefits themselves at the expense of others.

“The initiatives we support are designed to protect Inglewood from another attempt by stadium owners to take more from residents, small businesses and the city services that support critical infrastructure,” Krantz wrote.

John Shallman, a spokesperson for the billboard blight campaign who used to work with the LA Clippers, said WOW used its stadium-related petitions to target the roughly 13,000 signatures his group had collected.

“While WOW was publicly promoting separate stadium-related initiatives, it was also funding and organizing efforts designed to reduce support for ours by asking voters who had already signed to withdraw their names,” Shallman told The LA Local.

Shallman said canvassers were carrying multiple clipboards and asking some voters who had already signed the billboard initiative to remove their support. The LA Local could not independently verify those claims beyond confirming the petition had been filed with the city.

Krantz previously wrote to The LA Local that the billboard blight initiative was a “private interest power grab” by stadium owners designed to funnel advertising dollars to the billboards on stadium property.

“Their own massive signs — including future signs — are conveniently exempt from this initiative,” Krantz wrote. “The stadiums share none of their advertising revenue with Inglewood residents.”

The WOW-funded campaign directly discloses that they oppose the billboard blight ballot initiative in financial filings with the California Secretary of State. The stadium businesses did not similarly list their opposition to the parking and event tax initiatives.

The lawsuits remain unresolved, and the initiatives are being processed by the city to see if they’ve met the standards for inclusion on the fall ballot.

The Ballmer Group is a funder of The LA Local, but their support doesn’t influence our coverage. To learn more about our funders and commitment to editorial independence, click here.  

This story first appeared on The LA Local.

After Inglewood systematically violated state law, a judge reminded the city it was required to release records on police misconduct and use of force — but rolled back an earlier ruling that would have required the records to be posted online.

Barring an appeal, the decision brings five years of legal wrangling between the city and the American Civil Liberties Union of Southern California closer to a conclusion.

Inglewood won’t face serious consequences for the pattern of breaking California public records law, but the city must pay attorney fees for the ACLU and Trisha Shanklin, who joined the ACLU’s 2021 lawsuit. Inglewood police fatally shot Shanklin’s sister, Kisha Michael, and Marquintan Sandlin in 2016.

LA Superior Court Judge Amy Carter said the city will not have to proactively post the records online, which another judge had previously ordered the city to do for the next three years. Carter said during a Wednesday hearing that such a requirement would have to come from state legislators, not a judge.

Over the last decade, California lawmakers have expanded the public’s right to access police misconduct and use-of-force records, but Inglewood has thrown up a series of obstacles to that access.

The Inglewood City Council voted to destroy decades of internal affairs records in 2018 just weeks before one law went into effect, though Mayor James Butts denied the move was intended to thwart the law, according to LAist. The LA Times reported that the city nearly did it again in 2021 before being blocked by a judge.

This week’s court ruling found the city has routinely violated the law since then, missing deadlines, sharing incomplete records, and at times, failing to provide any documents at all.

Tiffany Bailey, an ACLU attorney, celebrated the decision and said it streamlines the civil rights group’s ability to get police records from the city in the future.

David Loy, an attorney with the First Amendment Coalition, said the case was a great win for the ACLU.

“These kinds of (public records) delays are not uncommon throughout the state,” Loy said. “I hope and believe this is a signal to other cities to get their house in order.”

Attorneys for the city declined to comment on the ruling, and Mayor James Butts did not immediately reply to written questions from The LA Local.

CalMatters maintains a searchable database of police misconduct and use-of-force records called the Police Records Access Project that includes records from the Inglewood Police Department.

The universe is a strange place — filled with exploding stars, ancient galaxies, and unseen worlds. Now, astronomers are about to get a brand new tool to explore it.

The $4.3 billion Nancy Grace Roman Space Telescope is scheduled for launch Aug. 30. Named for NASA's first chief astronomer, the observatory is expected to reveal new information about the expansion of the universe and discover multitudes of planets orbiting distant stars.

Roman, as it is known to its friends, has an unusual history. About 15 years ago NASA was making plans to build a space telescope that could, among other things, search for exploding stars known as Type 1A supernovas. These supernovas were used as a kind of cosmological measuring stick to uncover a mysterious force called dark energy that was causing the universe to expand — a discovery that earned the Nobel Prize in 2011.

Cosmologist Daniel Scolnic at Duke University says finding more of them would be key to better understanding that expansion.

As NASA was developing plans for this new telescope, a call came in from the government office in charge of surveillance satellites.

"The National Reconnaissance Office reached out to NASA," Scolnic says, "saying, 'We have this amazing satellite sitting in a hangar that we're not using. And what what do you guys think about instead of pointing downwards, we point upwards, and you guys use it?'"

NASA said yes. It took some substantial modifications, but now that old satellite is set to become NASA's next major space observatory.

Scolnic says that the new observatory could fundamentally change the scientific model that astronomers use to understand our universe.

"In the last few years, there have been measurements saying that model might be wrong — and that's something that Roman will absolutely nail, whether the model's right or wrong," he says.

Another goal of the telescope is to spend a month surveying all the stars in the Milky Way galaxy. Julie McEnery is Roman's project scientist. She says even though Roman has broadly the same sensitivity and sharpness of vision as the currently orbiting Hubble Space Telescope, its design lets it do things much faster.

"That one month of observations to survey our Milky Way galaxy would take about a century with Hubble," says McEnery.

Instead of focusing on a single object, Roman is designed to make catalogs of large swaths of the sky, and McEnery says these catalogs will be available to everyone, not just academics.

"You can be a teacher in a high school in Kentucky and your students have the opportunity to see Roman data at the same time as a professor in Princeton," she says.

One professor eager to get his hands on Roman data is Scott Gaudi at The Ohio State University. Along with colleagues, Gaudi developed a technique for detecting planets around distant stars. It's called gravitational microlensing, and it measures the way those planets bend the starlight that passes them by.

Albert Einstein described the idea in 1936 but thought it would be impractical. New technology has proven him wrong — and Gaudi expects Roman will find tons of planets that way.

"We're looking for planets that are just completely undetectable by any other method," Gaudi says. That includes planets at the center of our galaxy, "that are very analogous to our own solar system planets like Jupiter, Saturn, Uranus and Neptune."

In addition to new planets, Roman should also reveal new galaxies, helping astronomers to get a better idea of the large-scale structure of the universe.

But predicting what will be Roman's greatest accomplishments over the course of its five-year mission is a tricky business.

"The history of astronomy really has shown that when you get a new capability, and especially a survey capability, you learn something new, something unexpected," says Wendy Freedman, an astronomer at the University of Chicago. "Often that turns out to be the most exciting part of a new facility. So I am completely open to what this telescope will find."

Copyright 2026 NPR

Over the Linda Lindas’ career, talk about the band has often centered around how young they are.

They broke through as tweens and teens when a 2021 performance at the library in Cypress Park went viral after it was posted online, in part because they sounded so commanding for their age. The drummer, Mila de la Garza, was 10 at the time.

Five years and several albums later — Gotta Get Out, their third album and major label debut, just dropped yesterday — the Linda Lindas are outgrowing their old image.

“I do think people still hear 'kid band' when they think of the Linda Lindas,” said Lucia de la Garza, Mila’s older sister and one of the guitarists. “It's like we're not actually really that young anymore.”

Eloise Wong and Bela Salazar of The Linda Lindas perform during Riot Fest at Douglass Park last year in Chicago.

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It’s been eight years since the sisters joined cousin Eloise Wong and family friend Bela Salazar to play a local music fest. What was a one-off gig turned into a real band that always seemed to have homework to do.

“We'll play a show and then go backstage and finish an essay,” Lucia said.

“Almost like we're Hannah Montana,” Mila said.

“Without the secret identity,” laughed Lucia.

Then came the library video, a record deal with punk label Epitaph and their 2022 debut album Growing Up. 

They started touring the world opening for their heroes like Green Day and Paramore. (Paramore frontwoman Hayley Williams is featured on the single “Closer.”)

And as of this summer, more big leaps: They signed with Warner’s Reprise imprint, and all but Mila have graduated high school.

As they’ve grown, so has their songwriting.

Where they used to write individually, for their new album, they holed up in L.A., Long Beach and Palm Springs to write in the same room from the beginning. No phones allowed. Just riffing.

“We believe in each other and each other's ideas so much that we were kind of just pushing each other to go for it,” Lucia said. “What if we added synth here? What if the drums dropped out?”

By the end of the sessions, they had amassed about 30 songs and the 12 tracks on the album were split evenly between the three writing locations, produced by the sisters’ dad, Carlos de la Garza, who’s worked with Paramore, Bad Religion and Best Coast. (He actually started working with Best Coast after meeting them when the duo came to a Linda Lindas rehearsal in the family's backyard, according to Lucia.)

The album moves beyond straight-ahead punk, dipping into new wave, power pop and hardcore.

That range tracks with the members’ own eclectic listening habits. Lucia has been listening to indie artists Blondshell, Francis of Delirium and Indigo De Souza. Mila cited Julien Baker’s Little Oblivions, while Eloise, who plays bass, has been digging into local hardcore punk like Special Forces from San Luis Obispo, not to mention the Heated Rivalry soundtrack. Guitarist Bela has been listening to pop from Hollis and Mexico's Belanova.

Meanwhile, their lyrics tackle the issues staring down their generation, from climate change to fascism and economic injustice.

On “Blood on Our Hands," Eloise belts out an indictment of not just the government but the complicity of bystanders.

Eloise said the song isn’t just about calling people out about the state of the world, but “making everyone think about all of the little things that we can do to try and make it better, you know, and make it more sustainable, and make sure that people can live.”

Mila de la Garza of The Linda Lindas performs during the Bumbershoot Arts and Music Festival in Seattle last year.

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Elsewhere on the album, like on the single “Burning Out,” the band reflects on that strange space between youth and adulthood and seeing friends move into new stages of life while wondering if they’re being left behind.

Whatever uncertainty they may be feeling, the Linda Lindas say one thing is for sure: It’s all about their music now.

Next month, they head out on their biggest tour yet as headliners with dates across the U.S. and Canada.

For a band whose early years involved squeezing in homework between soundchecks, life has simplified in at least one respect.

“It's pretty much all about the band,” Eloise said.

Michael Hyatt was photographing the new L.A. punk scene tearing up Hollywood when he got an offer few would refuse.

It came shortly after the band X released their seminal 1980 debut, Los Angeles. Singer Exene Cervenka and bassist John Doe had liked a photo Hyatt had taken of the Plugz.

“They asked me if I would photograph X,” Hyatt said.

For the first half of the ‘80s, Hyatt photographed X wherever he could. On their first national tour where he also drove the jury-rigged tour van. At the Whisky just months after the unexpected death of Exene’s sister. On a downtown L.A. rooftop, days after the band’s big Greek Theatre show.

Exene.

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“I never pose people. I find a location, a backdrop and just let them be human beings,” Hyatt said. “People reach a point where they forget the camera —  that's when the good photographs happen.”

Hyatt’s works are compiled in a new book, X: On the Road & At the Crossroads, 1980-2024, with an accompanying exhibition opening at Beyond Baroque on Sept. 5 — where Cervenka will join Hyatt for a reading.

Exene Cervenka and John Doe in the Louisiana countryside in 1980.

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A band built on chance encounters 

X’s story reads like a constellation of happenstances hurtling toward inevitability. In 1976, Doe and guitarist Billy Zoom answered each other’s ads in the Recycler. That same year at a Beyond Baroque poetry night, Doe met Cervenka and saw punk lyrics in her writing. Ray Manzarek of the Doors, after seeing X live, offered that very night to produce their debut album in 1979.

A year later, Los Angeles helped cement L.A. punk, with a sound and sensibility markedly different from contemporaries the Germs and Black Flag.

A release party marked by tragedy

For the album’s release party, Hyatt said, X played two back-to-back shows in April at the Whisky a Go Go. Before they went on stage, Cervenka was told that her sister had been en route to the show when she was hit and killed by a drunk driver.

Three months later, Hyatt took this portrait of the band after another show at the Whisky.

X at the backstage area of Whisky a Go Go in July 1980, three months after the sudden death of Exene's sister.

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Michael Hyatt

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Michael Hyatt

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“I placed Exene against that plywood panel,” Hyatt remembered. “My goal, maybe on an unconscious level, was to capture the emotion related to the tragedy that happened three months prior.”

The iconic rooftop shot

A photo of X taken two days after their 1981 Greek Theatre show.

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Michael Hyatt

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Michael Hyatt

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In August 1981, X played in front of a crowd of 5,000 at the Greek Theatre.

“ They had reached the height of their powers,” Hyatt said.

He wanted to capture that zeitgeist. So two days later, he met the group at the rooftop of their rehearsal studio, which Hyatt scoped out at a practice session prior to the big Greek show.

“I went up and I thought, ‘Wow, this is a fantastic spot,’” he said. “Got a little bit of the skyline off in the distance of downtown L.A., but you've got the Roosevelt Hotel right there too.”

After three rolls of film, Hyatt said one shot clearly stood out.

Four decades later, still at the front row

At X's Houston show in 2024, Hyatt photographed a married couple that went on a first date to see the band in 1980.

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In 2024, X went on tour for their final album, Smoke & Fiction. One stop was Houston, Texas.

They’d played in Houston on their national tour in 1980, at a long-defunct punk venue called the Island.

In the crowd at the Island in 1980 was a young couple on their first date. A couple years later, Hyatt said, they got married.

“And there they were, 44 years later, right up front cheering on X — who they saw on their very first date,” Hyatt said.

Still together, wearing matching X shirts.