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The most important stories for you to know today
  • Steps to mitigate disturbing chatbot interactions

    Topline:

    Psychologists and online safety advocates say parents are right to be worried. Extended chatbot interactions may affect kids' social development and mental health, they say. And the technology is changing so fast that few safeguards are in place.

    Why it matters: Generative AI chatbots are a growing part of life for American teens. A survey by the Pew Research Center found that 64% of adolescents are using chatbots, with 3 in 10 saying they use them daily.

    Be aware of the risks: A new report from the online safety company, Aura, shows that 42% of adolescents using AI chatbots use them for companionship. Aura gathered data from the daily device use of 3,000 teens as well as surveys of families.

    Read on... for more tips from experts.

    It wasn't until a couple of years ago that Keri Rodrigues began to worry about how her kids might be using chatbots. She learned her youngest son was interacting with the chatbot in his Bible app — he was asking it some deep moral questions, about sin for instance.

    That's the kind of conversation that she had hoped her son would have with her and not a computer. "Not everything in life is black and white," she says. "There are grays. And it's my job as his mom to help him navigate that and walk through it, right?"

    Rodrigues has also been hearing from parents across the country who are concerned about AI chatbots' influence on their children. She is the president of the National Parents Union, which advocates for children and families. Many parents, she says, are watching chatbots claim to be their kids' best friends, encouraging children to tell them everything.

    Psychologists and online safety advocates say parents are right to be worried. Extended chatbot interactions may affect kids' social development and mental health, they say. And the technology is changing so fast that few safeguards are in place.

    The impacts can be serious. According to their parents' testimonies at a recent Senate hearing, two teens died by suicide after prolonged interactions with chatbots that encouraged their suicide plans.

    If you or someone you know may be considering suicide or be in crisis, call or text 988 to reach the 988 Suicide & Crisis Lifeline.

    But generative AI chatbots are a growing part of life for American teens. A survey by the Pew Research Center found that 64% of adolescents are using chatbots, with 3 in 10 saying they use them daily.

    "It's a very new technology," says Dr. Jason Nagata, a pediatrician and researcher of adolescent digital media use at the University of California San Francisco. "It's ever-changing and there's not really best practices for youth yet. So, I think there are more opportunities now for risks because we're still kind of guinea pigs in the whole process."


    And teenagers are particularly vulnerable to the risks of chatbots, he adds, because adolescence is a time of rapid brain development, which is shaped by experiences. "It is a period when teens are more vulnerable to lots of different exposures, whether it's peers or computers."

    But parents can minimize those risks, say pediatricians and psychologists. Here are some ways to help teens navigate the technology safely.

    1. Be aware of the risks

    A new report from the online safety company, Aura, shows that 42% of adolescents using AI chatbots use them for companionship. Aura gathered data from the daily device use of 3,000 teens as well as surveys of families.

    That includes some disturbing conversations involving violence and sex, says psychologist Scott Kollins, chief medical officer at Aura, who leads the company's research on teen interactions with generative AI.

    "It is role play that is [an] interaction about harming somebody else, physically hurting them, torturing them," he says.

    He says it's normal for kids to be curious about sex, but learning about sexual interactions from a chatbot instead of a trusted adult is problematic.

    And chatbots are designed to agree with users, says pediatrician Nagata. So if your child starts a query about sex or violence, "the default of the AI is to engage with it and to reinforce it."

    He says spending a lot of time with chatbots — having extended conversations — also prevents teenagers from learning important social skills, like empathy, reading body language and negotiating differences.

    "When you're only or exclusively interacting with computers who are agreeing with you, then you don't get to develop those skills," he says.

    And there are mental health risks. According to a recent study by researchers at the nonprofit research organization RAND, Harvard and Brown universities, 1 in 8 adolescents and young adults use chatbots for mental health advice.

    But there have been numerous reports of individuals experiencing delusions, or what's being referred to as AI psychosis, after prolonged interactions with chatbots. This, as well as the concern over risks of suicide, has led psychologists to warn that AI chatbots pose serious risks to the mental health and safety of teens as well as vulnerable adults.

    "We see that when people interact with [chatbots] over long periods of time, that things start to degrade, that the chatbots do things that they're not intended to do," says psychologist Ursula Whiteside, CEO of a mental health nonprofit called Now Matters Now. For example, she says, chatbots "give advice about lethal means, things that it's not supposed to do but does happen over time with repeated queries."

    2. Stay engaged with kids' online lives 

    Keep an open dialogue going with your child, says Nagata.

    "Parents don't need to be AI experts," he says. "They just need to be curious about their children's lives and ask them about what kind of technology they're using and why."

    And have those conversations early and often, says psychologist Kollins of Aura.

    "We need to have frequent and candid but nonjudgmental conversations with our kids about what this content looks like," says Kollins, who's also a father to two teenagers. "And we're going to have to continue to do that."

    He often asks his teens about what platforms they are on. When he hears about new chatbots through his own research at Aura, he also asks his kids if they have heard of those or used them.

    "Don't blame the child for expressing or taking advantage of something that's out there to satisfy their natural curiosity and exploration," he says.

    And make sure to keep the conversations open-ended, says Nagata: "I do think that that allows for your teenager or child to open up about problems that they've encountered."

    3. Develop digital literacy 

    It's also important to talk to kids about the benefits and pitfalls of generative AI. And if parents don't understand all the risks and benefits, parents and kids can research that together, suggests psychologist Jacqueline Nesi at Brown University, who was involved in the American Psychological Association's recent health advisory on AI and adolescent health.

    "A certain amount of digital literacy and literacy does need to happen at home," she says.

    It's important for parents and teens to understand that while chatbots can help with research, they also make errors, says Nagata. And it is important for users to be skeptical and fact-check.

    "Part of this education process for children is to help them to understand that this is not the final say," explains Nagata. "You yourself can process this information and try to assess, what's real or not. And if you're not sure, then try to verify with other people or other sources."

    4. Parental controls only work if kids set up their own accounts

    If a child is using AI chatbots, it may be better for them to set up their own account on the platforms, says Nesi, instead of using chatbots anonymously.

    "Many of the more popular platforms now have parental controls in place," she says. "But in order for those parental controls to be in effect, a child does need to have their own account."

    But be aware, there are dozens of different AI chatbots that kids could be using. "We identified 88 different AI platforms that kids were interacting with," says Kollins.

    This underscores the importance of having an open dialogue with your child to stay aware of what they're using.

    5. Set time limits

    Nagata also advises setting boundaries around when kids use digital technology, especially at nighttime.

    "One potential aspect of generative AI that can also lead to mental health and physical health impacts are [when] kids are chatting all night long and it's really disrupting their sleep," says Nagata. "Because they're very personalized conversations, they're very engaging. Kids are more likely to continue to engage and have more and more use."

    And if a child is veering toward overuse and misuse of generative AI, Nagata recommends that parents set time limits or limit certain kinds of content on chatbots.

    6. Seek help for more vulnerable teens 

    Kids who are already struggling with their mental health or social skills are more likely to be vulnerable to the risks of chatbots, says Nesi.

    "So if they're already lonely, if they're already isolated, then I think there's a bigger risk that maybe a chatbot could then exacerbate those issues," she says.

    And it's also important to keep an eye on potential warning signs of poor mental health, she notes.

    Those warning signs involve sudden and persistent changes in mood, isolation or changes in how engaged they are at school.

    "Parents should be as much as possible trying to pay attention to the whole picture of the child," says Nesi. "How are they doing in school? How are they doing with friends? How are they doing at home if they are starting to withdraw?"

    If a teen is withdrawing from friends and family and restricting their social interactions to just the chatbot, that too is a warning sign, she says. "Are they going to the chatbot instead of a friend or instead of a therapist or instead of responsible adults about serious issues?

    Also look for signs of dependence or addiction to a chatbot, she adds. "Are they having difficulty controlling how much they are using a chatbot? Like, is it starting to feel like it's controlling them? They kind of can't stop," she says.

    And if they see those signs, parents should reach out to a professional for help, says Nesi.

    "Speaking to a child's pediatrician is always a good first step," she says. "But in most cases, getting a mental health professional involved is probably going to make sense."

    7. The government has a role to play

    But, she acknowledges that the job of keeping children and teens safe from this technology shouldn't just fall upon parents.

    "There's a responsibility, you know, from lawmakers, from the companies themselves to make these products safe for teens."

    Lawmakers in Congress recently introduced bipartisan legislation to ban tech companies from offering companion apps for minors and to hold companies accountable for making available to minors companion apps that produce or solicit sexual content.

    If you or someone you know may be considering suicide or be in crisis, call or text 988 to reach the 988 Suicide & Crisis Lifeline.
    Copyright 2025 NPR

  • 2026 prize goes to remix of 1930's 'King of Jazz'
    Nearly 280 filmmakers entered the Internet Archive's <a href="https://blog.archive.org/2025/12/01/2026-public-domain-day-remix-contest/"target="_blank" >Public Domain Film Remix Contest</a> this year. Above, a still from the 1930 film <em>King of Jazz.</em>

    Topline:

    A new video based on clips from King of Jazz has won this year's Public Domain Film Remix Contest.

    How it works: The annual competition invites filmmakers from around the world to reimagine often long-forgotten literary classics, films, cartoons, music, and visual art that are now in the public domain.

    About the winner: Titled Rhapsody, Reimagined, the roughly two-minute video captures the King of Jazz's surreal quality: Cookie-cutter rows of musicians, showgirls, office workers and random furniture cascade across the screen as influential bandleader Paul Whiteman's winking face looks on.

    One of the most unusual of the creative treasures to enter the public domain this month is King of Jazz. The plotless, experimental 1930 musical film shot in early Technicolor centers on influential bandleader Paul Whiteman, nicknamed "The King of Jazz."

    In one memorable scene, the portly, mustachioed Whiteman opens a small bag and winks at the camera as miniature musicians file out one after another like a colony of ants and take their places on an ornate, table-top bandstand.

    A new video based on clips from King of Jazz has won this year's Public Domain Film Remix Contest — an annual competition that invites filmmakers from around the world to reimagine often long-forgotten literary classics, films, cartoons, music, and visual art that are now in the public domain. This means creators can use these materials freely, without copyright restrictions. In 2026, works created in 1930 entered the public domain.

    Titled Rhapsody, Reimagined, the roughly two-minute video captures the King of Jazz's surreal quality: Cookie-cutter rows of musicians, showgirls, office workers and random furniture cascade across the screen as Whiteman's winking face looks on.

    "I wanted to transform the figures and bodies into more dream-like shapes through collage and looping and repetition," said Seattle-based filmmaker Andrea Hale, who created the piece in collaboration with composer Greg Hardgrave. For video artists, Hale said discovering what's new in the public domain each January is a thrill. "We're always looking for things to draw from," Hale said. "Opening that up to a bigger spread of materials is amazing. That's the dream."

    A massive repository of content


    The Internet Archive, the San Francisco-based nonprofit library behind the contest, digitizes and provides public access to a massive repository of content, including many materials used by contest participants. "These materials have often just been in film canisters for decades," said digital librarian Brewster Kahle, who founded the Internet Archive in 1996.

    This year's submissions range from a reworking of the 1930 film The Blue Angel starring Betty Boop — another public domain entrant this year — instead of Marlene Dietrich, to an AI-generated take on the 1930 Nancy Drew book The Mystery at Lilac Inn.

    Kahle said the Internet Archive received nearly 280 entries this time around, the highest number since the competition launched six years ago. "Things are not just musty, old archival documentation of the past," Kahle said. "People are bringing them to life in new and different ways, without fear of being sued."

    The public domain in the era of AI


    Lawsuits have become a growing concern for artists and copyright holders, especially with the rise of generative AI. Recent years have seen a surge in online video takedowns and copyright infringement disputes.

    Media companies are trying to address the problem through deals with tech firms, such as Disney and OpenAI's plan, announced late last year, to introduce a service allowing users to create short videos based on copyrighted characters, including Cinderella and Darth Vader.

    "On the one hand, these licensing agreements seem quite a clean solution to thorny legal questions," said Jennifer Jenkins, director of the Center for the Study of the Public Domain at Duke Law School. "But what's exciting about the public domain is that material, after a long, robust 95-year copyright term, is just simply free for anyone — without a team of lawyers, without a licensing agreement, without having to work for Disney or OpenAI — to just put online," Jenkins said.

    Jenkins also pointed out an interesting twist for people who create new works using materials from the public domain. "You actually get a copyright in your remix," she said. "Just like Disney has copyrights in all of its remakes of wonderful public domain works like Snow White or Cinderella." (The Brothers Grimm popularized these two characters in their 19th century collection Grimm's Fairy Tales. But their roots are much deeper, going back to European folklore collections of the 1600s and beyond.)

    However, this only applies to works created by humans — U.S. copyright law currently doesn't recognize works authored by AI. And Jenkins further cautioned that creators only get a copyright in their new creative contributions to the remix, and not the underlying material.

    This year's Public Domain Film Remix Contest winner Andrea Hale said she's using a Creative Commons license for Rhapsody, Reimagined. This means the filmmaker retains the copyright to her work but grants permissions that allow other people to freely use, share, and build upon it. "I'm keeping with the spirit of the public domain," Hale said.

    Copyright 2026 NPR

  • Sponsored message
  • A day celebrating Scotland's most beloved poet
    A hand holding a book written by Scottish poet Robert Burns
    Man with traditional Scottish tartan holds a book with Robert Burns face on it at Burns Night Jan. 24, 2004, in London, England.

    Topline:

    Every January 25 — on Sunday this year — is Burns Night, a global celebration of the life and legacy of the Scottish poet and lyricist Robert Burns.

    Why it matters: His name might not be familiar, but every New Year’s Eve — or Hogmanay, as it is called in Burns's native home Scotland — millions of people sing Auld Lang Syne, a poem he wrote in 1788.

    Why now: Several events are happening in Los Angeles, too. We're here to tell you about them. Whiskys? Bagpipes? Poetry, anyone?

    The name of Robert Burns might not be familiar, but every New Year’s Eve — or Hogmanay, as it is called in his native home Scotland — millions of people sing Auld Lang Syne, a poem that he wrote in 1788.

    Every Jan. 25 — on Sunday this year — is Burns Night, a global celebration of the life and legacy of the Scottish poet and lyricist.

    Several events are happening in Los Angeles, too, which I can attest are rather zany affairs — if only because of the sheer number of tartan kilts in sight, the haunting, piercing but tuneful drone of bagpipes, which can only bring to mind a windswept mountain top, and a generous dash of whiskys (plural). More on that later.

    A neatly set place at a dining table, viewed from a low, close angle. In the foreground lies a folded white napkin resting on a white tablecloth. Printed in deep blue on the napkin is a short poem titled “The Selkirk Grace”, attributed to Robert Burns.
    People enjoy a Burns supper in the red room at Burns Cottage Pavilion on Jan. 23, 2014, in Alloway, Scotland.
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    Jeff J Mitchell
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    Getty Images
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    Scotland

    Some 30,000 square miles in size and home to around 5.5 million people today, Scotland was officially united with England in 1707 when their two parliaments became one and created Great Britain.

    However, as you may have seen in movies like Braveheart, Rob Roy, and even Trainspotting, a streak of fierce independence has run through Scotland for centuries, so don’t make the mistake of assuming that, just because the countries are joined geographically, that English and Scottish people are more or less the same.

    Besides historical rebels, beautiful countryside and world-class golf courses, Scotland has always punched well above its weight: penicillin, television, the telephone, artificial refrigeration, and the raincoat — “the mac” — were all invented by Scots. Naturalist John Muir, the Father of the National Parks,” was born in Dunbar, and Nessie is perhaps the most legendary of all cryptids.

    The Bard of Scotland

    But it’s Robert Burns — often known as Rabbie — whose name and work has lasted centuries as Scotland’s National Poet.

    A bronze statue of a young man with a shag and his eyes closed. Someone has places a big red flower on top of his head, like a hat.
    A statue of Scottish poet Robert Burns in London.
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    ANDREW COWIE/AFP/GettyImages
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    AFP
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    In 1796, Burns died at just 37 — on the same day his son Maxwell was born — and he had worked almost exclusively on traditional Scottish songs during the latter stages of his life, which ensured that several hundred folk songs, like Auld Lang Syne, were not lost to history.

    A (inter)national affair

    Burns Night is a tradition that was begun by some of his friends in 1801. Scottish people and any other admirers and friends of Scotland will gather together for poetry readings, music, dancing, and of course a meal of haggis. For those who don’t know what it is, it’s rather an odd-looking meal, and rather an acquired taste.

    A bagpiper will lead the haggis, the traditional centerpiece, into the dining room, where a poem written by Burns called Address to a Haggis is read aloud before the haggis is dramatically cut into pieces for everyone to share.

    The poem in question describes the delicacy as having “buttocks like a distant hill,” among other writerly flourishes. Read for yourself here.

    A group of people holding umbrellas and in winter coats standing in front of a statue of a man amid falling snow.
    Members of the public gather at the Robert Burns statue, as part of events taking place to celebrate the birth of poet Robert Burn on Jan. 25, 2012, in Dumfries, Scotland.
    (
    Jeff J Mitchell
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    Getty Images
    )

    When I was a child, I was told that haggises were small, furry creatures that lived in the Scottish Highlands and were too clever to be caught, hence you rarely saw them on the dinner plate. Buttock size was not mentioned.

    That’s not true of course, and this might be why: haggis is made from minced sheep’s heart, liver and lungs mixed with oatmeal, suet, onions and spices then traditionally boiled inside the sheep’s stomach. It’s savory and earthy, somewhat rich and a little gamey. Maybe not something you eat slice after slice, perhaps.

    A refrigerated display case filled with numerous pale, round, tightly wrapped food items arranged in neat rows. Hanging above the products is a vertical label card. The card includes a title identifying the item, followed by printed cooking instructions in clear, compact text.
    Haggis for sale at Crombies butchers ahead of Burns night on January 22, 2016, in Edinburgh, Scotland.
    (
    Jeff J Mitchell
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    Getty Images
    )

    Over dinner and helpings of haggis, raucous toasts are celebrated with “drams” or small glasses of whisky — surely Scotland’s most famous export — and there are recitations of some of Burns’s other poems, like A Red, Red Rose, Ae Fond Kiss, or Tam o’Shanter.

    The latter was the name of a drunken farmer who taunts the devil and is chased by witches in a poem written by Burns in 1791. He wears a tam o’shanter, a flat woolen cap with a pom-pom in the center.

    A large oval platter set on a small wooden stand, holding a rounded loaf-like main dish topped with a small metal skewer.
    Haggis, with bread and butter served at Tam O’Shanter in Los Feliz.
    (
    Courtesy Tam O’Shanter
    )

    Angelenos might recognize that as the name of the restaurant and pub in Los Feliz.

    I went to my first Burns Night in L.A. last year, and I must say, that despite being an Englishman I was heartily welcomed, and I did enjoy my taste of the famous dish — though the bagpipes, also an acquired taste for this “sassenach” are yet to be something on my regular playlist.

    L.A. does Burns Night... with Brian Cox and more

    Festooned with Scottish flags, souvenirs and regalia, the Tam is one of the venues that will be hosting its 41st Burns Nights on Jan. 27 and 28, with two seatings each night.

    Also, the St. Andrew’s Society — named in honor of the Scottish patron saint - will host their sold-out Burns Night on January 24 at the Four Seasons Hotel in Beverly Hills. It’s their 96th event, and singing for his supper as the winner of their annual Robert Burns Award is Dundee-born actor Brian Cox, who played the ruthless Logan Roy in HBO’s Succession (and was in Braveheart).

    Alternatively, the St. Andrews University Alumni network here in L.A. is also celebrating a day early, on Jan. 24, 6 - 9 p.m. at MacLeod’s Brewery in Van Nuys.

    It’s the very first Burns Night celebration organized by Sammy Ginsberg, a self-described, home-grown “Valley Girl” who left L.A. in 2012 to study at St. Andrews, a venerable institution founded in 1413. It’s where Prince William met his wife-to-be, Kate Middleton.

    Ginsberg fell hard and fast in love with Scotland, describing her first visit as “magical.”

    As an aspiring writer and poet, Ginsberg was especially inspired by the reverence for literature that she found.

    “Scotland is a rich place filled with imagination that truly loves writers and I think we can learn a lot from them,” Ginsberg said, adding that was one reason why she co-started the Los Feliz Writers Festival.

    Alongside the neeps, tatties and haggis there will be haggis pizza — surely a new culinary innovation — as well as Scottish beer and music from bagpiper John McLelan Allan, who has appeared in many movies, TV shows and has worked with performers such as Korn, The Chieftains, and Michael Flatley.

    Though Ginsberg developed a taste for fish and chips when she was in Scotland. “That was my stress food when I was in the library on a deadline crunch,” she said.

    She admits that it took a few more attempts before she became a fan of haggis.

    Nearly 680,000 people with a Scottish or Ulster-Scots background call Southern California home, according to the 2020 census, so “slàinte” to all of you, and try to get hold of a bottle of Irn-Bru — an electric orange-colored soda from Scotland — as it’s said to be the best cure for a hangover.

    “It really gets you going again!” Ginsberg said.

  • LA punk rocker plays Altadena benefit show
    Two musicians with long hair swinging their heads while performing
    Steven McDonald (left) and brother Jeff McDonald of Redd Kross performing in 1989.

    Topline:

    Steven McDonald was 12 when he and his slightly older brother Jeff started performing as Redd Kross, becoming a part of the burgeoning punk scene in ‘80s Los Angeles.

    Why now: On Sunday, McDonald is headlining a benefit show in Pasadena for musicians who lost gear in the Eaton Fire.

    Backstory: As Redd Kross, the then tween and his older brother Jeff were part of the L.A. punk rock scene that spawned groups like Black Flag and Adolescents.

    Punk rose up in L.A.'s Hollywood in the 1970s with groups like X, the Germs and The Go-Go's. Just a handful of years later, disaffected kids from the ‘burbs picked up guitars and an attitude and took punk hardcore with bands such as Adolescents, Black Flag and Social Distortion.

    Steven McDonald, then 12, had a front row seat to all that noise, angst and swagger as one of the core members, along with his slightly older brother Jeff, of the Hawthorne-based punk group, Redd Kross.

    The younger McDonald had just picked up the bass — the instrument he plays in Redd Kross — and the guitar a year or so before. In no time, the brothers found themselves in the thick of a thriving scene.

    “ It's a unique thing that I got to experience,” McDonald told LAist. “We got to play the punk clubs like in Chinatown at the Hong Kong Cafe, and then later on the Whisky a Go Go. It was a really magical moment around 1979, 1980 — when I was 12 or 11.”

    Redd Kross, known briefly as the Tourists before, opened for an early incarnation of Black Flag. New York art punk gods, Sonic Youth, frequently performed with the group. Social Distortion, McDonald said, opened for them when he was around 13.

    “It was just this super creative, supportive environment. Most of these people were older than me in their early 20s,” McDonald said, adding that many of them were art school kids open to groovy new things. “I'd get a lot of CalArts people and people that had kind of been around for the glitter scene in Los Angeles and it kind of was morphing into this new punk rock thing and had a very independent spirit.”

    And no one thought the McDonald brothers were out of place.

    “People thought like, ‘Oh, if you've got something to say, then don't get weighed down with, like, refining anything. Just go say it.’”

    A man with long hair covering his face playing the bass at a festival outdoor. He is wearing a short that says, PUNK ROCK.
    Bass player Steven McDonald of Off! and Redd Kross performs onstage during the Its Not Dead 2 Festival at Glen Helen Amphitheatre on Aug. 26, 2017 in San Bernardino.
    (
    Scott Dudelson
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    Getty Images
    )

    The brothers soaked in L.A. punk lore watching legends from The Runaways to The Go-Go’s perform on stage. And knocked on doors on their own until local clubs and venues let them play.

    They were persistent, but McDonald said they couldn’t have done it without the support of their parents.

    “ They're not musicians, they're not hippies on a commune,” he said.

    In fact, their father is a welder who's still running the same small business with their mom.

    “They just could recognize that their kids had some kind of intense interest and even if they didn't share it or understand it, they could recognize that,” he said.

    Two men, one with short hair and glasses and another with long hair and a mustache pose in front of a background that says "Grammy Museum."
    Jeff McDonald and Steve McDonald of Redd Kross attend Reel To Reel: Born Innocent: The Redd Kross Story at GRAMMY Museum L.A. Live on Feb. 18, 2025 in Los Angeles.
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    Rebecca Sapp
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    Getty Images
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    That meant pick-ups and drop-offs — the usual stuff, in a way, for parents. “They would actually drive us to the Whisky a Go Go and they would sit in the parking lot at the gas station across the street,” he said.

    As Redd Kross gained success with their pop punk sound, the band became elder statesmen looking over the next generation of bands that were coming up.

    Last year, McDonald attended the Rock and Roll Hall of Fame, where grunge group Soundgarden was inducted.

    “Those guys opened for my band in 1986,” McDonald said lovingly.

    Two musicians completely immersed in the moment as they perform on their guitar and bass. Both musicians are leaning forward, headbanging, with their long hair whipping through the air.
    Singers Jeff McDonald and Steve McDonald of the band Redd Kross perform onstage during the Autism Think Tank benefit at The Alex Theatre on Feb. 23, 2019 in Glendale, Calif.
    (
    Scott Dudelson
    /
    Getty Images
    )

    It was a moment that brought into relief the many decades that Redd Kross has been making music. And they’re still at it — working on a new album this year and going on tour abroad and locally.

    Benefit show in Pasadena

    A graphic announcing a benefit concert for fire survivors.
    Steven McDonald of Redd Kross is headlining a benefit show to help Eaton Fire musicians replace lost gear.
    (
    LAist
    )

    On Sunday, McDonald will headline a benefit show (LAist is a media sponsor) at the record shop, Healing Force of the Universe, in Pasadena to help musicians replace equipment and gear they lost in the Eaton Fire.

    He’ll play an acoustic set of Redd Kross songs, including “Annie’s Gone,” which he previewed in a performance at the LAist studios.

    The song is a reference to the character Annie in the 1980 film, Foxes. The role was played by Cherie Currie, the lead singer of one of McDonald’s favorite bands, The Runaways. He first saw them played at the Whisky in 1979.

    “ I just really worshiped them and they inspired me because they were teenagers and they were bridging that gap between punk and hard rock. They were just out there doing it,” he said.

    Performing solo is something of a first for him. At Sunday's show (tickets are still available), McDonald will include "Annie's Gone" in his acoustic set — a song normally sung by his lead singer brother Jeff.

    "It's a rare opportunity to see Steve McDonald singing 'Annie's Gone.'"

    Details

    Gear Donation Drive and Acoustic Show
    When: Jan. 25, 2 p.m.
    Where: Healing Force of the Universe, 1200 E. Walnut St., Pasadena
    Tickets: $12 (pre-sale) / $15 (door) / or donate a working musical instrument

  • DOJ can’t seek trans patients’ unredacted info
    Protesters wave transgender pride flags standing in the street outside a hospital building. A sculpture with the letters "CHLA" in children's toy blocks is visible in the foreground, with the "A" mostly obscured by a flag.
    Protesters outside Children's Hospital Los Angeles on July 17.

    Topline:

    The records of more than 3,000 patients at CHLA’s former Center for Transyouth Health and Development will now be protected from federal subpoenas until at least February 2029 under a settlement.

    What the federal government was seeking: The DOJ wanted to pull a wide swath of information from CHLA’s records related to hormone therapy prescriptions, including the identities and social security numbers of the people it was prescribed to.

    What CHLA patients’ lawyers are saying: “This is a massive victory for every family that refused to be intimidated into backing down,” said Khadijah Silver, Director of Gender Justice & Health Equity at Lawyers for Good Government. “The government's attempt to rifle through children's medical records was unconstitutional from the start.”

    What’s in the settlement: Under the agreement, which was first reported by Reuters, the federal government has withdrawn its requests for personal information like social security numbers, records and “documents relating to the clinical indications, diagnoses or assessments that formed the basis for prescribing puberty blockers or hormone therapy.”

    What the hospital and DOJ say about the win: LAist has reached out for comment to both entities and has not heard back.

    The backstory: The subpoenas were issued on or about June 11, 2025, according to the settlement. They were made public in July, though many patient families remained in the dark about whether they were affected. CHLA announced it planned to close its clinic for trans youth June 12.

    After the Department of Justice issued a wide-ranging subpoena to Children’s Hospital Los Angeles last June, the records of more than 3,000 patients now will be protected until at least February 2029 under a settlement reached between patient families and the federal government.

    What the federal government was seeking

    The DOJ wanted to pull a wide swath of information from CHLA’s records related to hormone therapy prescriptions, including the identities and social security numbers of the people it was prescribed to. Lawyers for CHLA patient families said the broad request also included details of patients’ sexual health data and records of their mental health and said the inquiry violated their constitutional rights.

    What CHLA’s lawyers are saying

    “This is a massive victory for every family that refused to be intimidated into backing down,” said Khadijah Silver, director of gender justice and health equity at Lawyers for Good Government. “The government's attempt to rifle through children's medical records was unconstitutional from the start.”

    Silver also noted that DOJ confirmed it had not received any sensitive patient data under the parts of the subpoena that had been struck down.

    What’s in the settlement

    Under the agreement, which was first reported by Reuters, the federal government has withdrawn its requests for personal information like social security numbers, prescription records and “documents relating to the clinical indications, diagnoses or assessments that formed the basis for prescribing puberty blockers or hormone therapy.”

    The government cannot make new requests of this type to CHLA until February 2029. The settlement also establishes a process for the DOJ to continue to pursue seeking some limited redacted medical records from CHLA.

    What it means for parents and children

    In the aftermath of the subpoenas, many advocates were worried that families would face federal prosecution for seeking gender-affirming care for their children.

    However, according to the settlement, the DOJ said it “is not currently aware of information that would support the federal prosecution of parents or guardians who have sought and consented to receiving gender-related care for their children at Children’s Hospital of Los Angeles.”

    What the hospital and DOJ say about the win

    LAist has reached out for comment to both entities and has not heard back.

    The backstory

    The subpoenas were issued on or about June 11, 2025, according to the settlement. They were made public in July, though many patient families remained in the dark about whether they were affected. CHLA announced it planned to close its clinic for trans youth June 12.

    Judges have ruled against similar requests and struck down subpoenas seeking records from other hospitals, like Children’s Hospital of Philadelphia and Boston Children’s Hospital.