The Brief

It was good news through the Port of L.A.’s rear-view mirror. April’s volume in the port was the best it’s been in a long time.

“This ranks as our third best April on record, surpassed only by the pandemic,” said Port of L.A. Executive Director Gene Seroka in his monthly update on Monday.

But what he sees ahead doesn’t look good.

Much of the traffic in April was retailers and manufacturers bringing in cargo before high tariffs kick in.

For the month of May, 80 or so sailings were expected to arrive in Los Angeles, but 17 of those have been canceled and 10 cancellations remain on the books for the month of June, Seroka said.

Seroka’s briefing made clear that the ripple effect of the Trump administration’s unleashing of tariffs on foreign-made goods has reached the entry point of imports, and will likely lead to fewer jobs and higher prices.

Effects on dock workers and beyond

The 30% decline in container traffic during the first week of May had an immediate effect on the docks.

Container ships are unloaded at The Port of Los Angeles on Sept. 7, 2024.

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Photo by Paul Harris/Abaca, Sipa USA

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“Less cargo means fewer job opportunities,” Seroka said.

Tens of thousands of Longshore workers operate the cranes that unload containers from ships, drive the trucks that move the containers, and do other port-related work.

“From the number of labor gangs that are out there responding to the shift requirements of cargo to the truckers and the warehouse workers, the impact was felt almost immediately during that first week of May,” Seroka said.

He estimates there were hundreds fewer people working on the docks the Friday of the first week of May because of the cargo slowdown.

Business through the Port of L.A. affects nearly 500,000 jobs in the five-county Southern California region.

Tariffs may sour consumers tastes

The most common products coming through are furniture, car parts and clothes. Consumers can also expect some of the many food products that arrive at the port to start costing more.

“Coffee, juice concentrate, avocados, bananas, have all been hit by tariffs and we'll see that [price increase] at the grocery store as well,” Seroka said.

President Donald Trump raised those and other tariffs in an effort to increase the amount of goods the U.S. exports. However, exports out of the Port of L.A. were down 3.5% last month compared to last year. The most common exports out of the port are recyclable paper, pet and animal feed and soybeans.

The reasons for the trade deficit with China are complex, but Trump’s trade war has already reduced imports from the country. China is by far the largest trade partner with the Port of L.A., accounting for about 60% of business with the port. But that’s gone down to 45% amid tougher U.S. trade policies, according to the port.

Hop onto TikTok and you'll find lots of videos of young people — mostly women — fake baking under the glowing UV lights of a tanning bed. Seattle dermatologist Heather Rogers says this is an alarming trend that comes after years of decline in indoor tanning in the U.S.

She points to a 2025 survey from the American Academy of Dermatology which found 20% of Gen Z respondents prioritize getting a tan over protecting their skin. And 25% say it's worth looking great now even if it means looking worse later.

They feel like "it's better to be tan than it is to worry about skin cancer," Rogers says.

A new study in the journal Science Advances reinforces just why they should worry.

Researchers found that tanning bed users were nearly three times as likely to develop melanoma — the deadliest form of skin cancer — compared to people who'd never tanned indoors. They also had DNA damage that can lead to melanoma across nearly the entire surface of the skin.

"Even in skin cells that look normal, in tanning bed patients, you can find those precursor mutations" that lead to melanoma, says Dr. Pedram Gerami, one of the study's authors and the IDP Foundation professor of skin cancer research at Northwestern University.

Gerami and his collaborators compared the medical records of nearly 3,000 patients who used tanning beds to an age-matched control group of patients who didn't tan indoors. They found that the more people used the tanning beds, the higher their risk of melanoma.

"If they had 10 to 50 tanning bed exposures, their risk was twice as high as the control group," Gerami says. If they had over 200 tanning bed visits, their risk was more than eight times as high.

"If you think about it, getting 200 tanning bed exposures can happen really quickly. If you go once a week for four years, there you are," he says.

The researchers also performed genetic sequencing on normal skin cells from tanning bed users. Most were younger women, which makes sense, because studies have shown that young women in their teens and 20s are the heaviest users of indoor tanning, says study co-author Hunter Shain, an associate professor of dermatology at the UC San Francisco.

Shain says when the researchers compared these skin samples to normal skin cells from people in the general population who were twice the age of the indoor tanners, they were "stunned" by what they found.

"Women in their 30s and 40s had more mutations than people in their 70s and 80s from the general population," says Shain, whose research focuses on the biology of skin cancer. "They somehow were able to cram in two lifetimes' worth of UV damage in 30 years."

Dr. Heather Rogers, who was not involved in the study, notes that tanning beds can emit ultraviolet radiation that is 10 to 15 times stronger than what you'd get from the sun. She says that tanning beds are often marketed as being safer than the sun, but this study shows how wrong those claims are.

Dr. Pedram Gerami says many of the patients he sees at a high-risk melanoma clinic are women who started indoor tanning as teens wanting to look better for events like homecoming and prom.

"Now, as young adults, they're having to deal with frequent skin checks, frequent doctor visits, frequent biopsies, lots of anxiety, and the emotional burden of having been diagnosed with cancer at a young age," Garami says. "So they have a lot of heaviness to deal with."

He says some of these patients chose to donate skin samples to the study in hopes of helping other young people avoid the same fate.

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Nearly every pop music holiday song written in the past 80 years owes at least some of its DNA to one Christmas tune in particular: "White Christmas," written by Irving Berlin and sung by Bing Crosby, which he first recorded in 1942.

It's reportedly still one of the best-selling songs of all time in any genre, though chart data from decades ago is unreliable. Even given that murkiness, the Guinness Book of World Records named it as the best-selling physical single of all time in 2012.

"White Christmas" wrote the formula for modern secular holiday songs — despite its complex and troubling history.

Songwriter Irving Berlin wasn't destined to be a Yuletide magic maker. He was born Israel Baline in Siberia to an Orthodox Jewish family; his father was a cantor turned kosher butcher. But Berlin embraced assimilation — he married an Irish Catholic woman and had Christmas trees in his house. Even so, for Berlin, Christmas was a holiday shadowed by personal tragedy.

"On Christmas Day, 1928, his only son died. He always told members of his family that he disliked Christmas for this reason, that he could never, never get past the sadness that he experienced on Christmas Day," said author and New York Times contributing writer Jody Rosen, who wrote a book called White Christmas: The Story of an American Song.

The infant Irving Berlin Jr. died suddenly, less than a month after he was born. And at its heart, "White Christmas" is a deeply melancholic song.

Most Christmas carols and pop songs were unabashedly joyful. Berlin's song represented a turn, Rosen said: "It was strange to have a song that was all about this nose-pressed-up-to-the-glass feeling."

It also set a certain standard for Christmas songs that are about nostalgia, about some lost Christmas past. (Think, for example, of another enduring hit that came shortly after Berlin's smash: "Have Yourself A Merry Little Christmas," which Judy Garland sang in the 1944 film Meet Me in St. Louis, and which was written by Hugh Martin and Ralph Blane.)

But there's other stuff going on too. Irving Berlin was a hit machine as a Tin Pan Alley and Broadway songwriter. As a New Yorker and an immigrant himself, he was intimately familiar with a particular genre of songs, Rosen said: "That tradition of so-called 'home songs,' you know, songs that pine for a lost place, a lost ideal. These songs are so huge because we have an immigrant population, lots of people who've done a lot of moving. So there were songs about Irish people longing for Ireland and Italians longing for the old country there."

He said Berlin took that genre and flipped it into a Christmas song.

That's especially true of a largely forgotten, tongue-in-cheek introductory verse Berlin originally wrote for "White Christmas." The narrator is a New Yorker stuck in California (as Berlin frequently was, churning out songs for Hollywood): "The sun is shining, the grass is green, the orange and palm trees sway ... but it's December the 24th, and I am longing to be up north!" the protagonist sings.

Rosen said most people listening to "White Christmas" are missing additional subtext. He said that much of that nostalgic vibe in "White Christmas" — all that longing for a pristine, innocent Christmas of yore — is a reference to explicitly racist minstrel songs like Stephen Foster's "Old Kentucky Home," sung by Al Jolson and others — music that was still a staple in Berlin's day.

Foster was inspired by the Harriet Beecher Stowe novel Uncle Tom's Cabin and the song, hailed by Frederick Douglass and Paul Robeson, was meant to be empathetic to the abolitionist cause — the narrator is longing to be reunited with his wife and children, but their family has been torn apart by slaveholders. It later became a popular tune at minstrel shows, with its saddest lines omitted and its meaning twisted.

In "Old Kentucky Home," Rosen said, "You have, grotesquely, the freed Black man longing for life back below the Mason-Dixon line, back on the plantation. Here, instead of a Black man in the north longing for the sultry south, we have a well-to-do white person longing for the wintry north."

But the racial dynamics of "White Christmas" aren't just a matter of subtle references to older songs. Irving Berlin had great commercial expectations for "White Christmas." He built a whole movie around it: 1942's Holiday Inn, starring Bing Crosby and Fred Astaire.

Holiday Inn is stuffed with racist stereotypes and an entire blackface number. (That scene is usually excised from TV broadcasts today, but the whole film is available to stream online.) As Crosby and his love interest, played by Marjorie Reynolds, prepare to perform a song about Abraham Lincoln, Crosby spreads greasepaint on her face, as the orchestra plays "White Christmas" underneath. Not only is "White Christmas" the movie's biggest hit, it's also the film's romantic theme.

Blackface on stage and on screen was very much a recent memory for 1940s audiences, said scholar Brynn Shiovitz. She's the author of the book Behind the Screen: Tap Dance, Race, and Invisibility During Hollywood's Golden Age.

In Holiday Inn, Shiovitz said, "We get a pairing of nostalgia for Christmas, but also nostalgia for blackface, because so many of the people that were watching Holiday Inn when it premiered in the theaters grew up watching vaudeville, grew up watching their parents maybe even perform in blackface."

Audiences loved the song "White Christmas" and its spotlight in Holiday Inn — and American GIs stationed abroad during World War II clamored for the Armed Forces Radio Service to play the song. "White Christmas" was so sturdily successful that Hollywood made another movie centering the song in 1954 — also called White Christmas — this time starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen.

Since then, legions of musicians have recorded their own versions of "White Christmas" — including The Drifters, Elvis Presley, Iggy Pop and Sabrina Carpenter. And of course, each generation adds new layers of meaning to the song as it is stitched into our holiday season each year, said Shiovitz.

"With all of these other memories that people have of Christmas, whether it's being piped in while you're shopping, or it's playing on the radio in the car as you're driving to visit family — it's easy to kind of separate it from its history. People develop new memories with it. People have their own ideas of what the song represents, so it's just incredibly complex," Shiovitz said.

Today's audiences and artists don't necessarily hear or even know about the song's racist history, Shiovitz said — but that doesn't mean it's not there.
This story was edited for radio and digital by Jennifer Vanasco.
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