Masters of Taste 2026 host chefs Vanessa and Thomas Tilaka Kalb. | Photo by May S. Ruiz / Hey SoCal
After being sidelined last year by the Eaton and Palisades Fire, Masters of Taste returns to the Rose Bowl for the eighth time on a glorious afternoon on April 19. It’s a wonderful day to enjoy culinary delights and beverage offerings from over 200 participating restaurants, pastry shops, breweries, wineries, and beverage producers.
From its inception, Masters of Taste has been a sold-out event that attracts over 3,000 guests and garners media attention throughout Southern California and beyond. Over 100 culinary masters and restaurants present their finest fare and L.A.’s top sweet masters prepare delectable sweets.
Attendees patiently waiting for Masters of Taste to open. | Photo by May S. Ruiz / Hey SoCal
Leading beverage masters feature signature handcrafted cocktail tastings from over 25 spirit brands and bars, a premier 50-yard-line cocktail bar featuring top mixologists from L.A.’s most distinguished drinking destinations, select wineries, local craft breweries, cold-pressed juices, cold brew coffee. From 3 to 7 p.m., a deejay provides live entertainment while attendees eat and imbibe.
Every dollar raised at Masters of Taste benefits the work of Union Station Homeless Services to end homelessness. Since its inauguration, the event has donated millions of dollars to help countless families and individuals find a secure and welcoming place to call home.
Mini chocolate chip cookies and donuts from RicoRico Snack Bar in San Diego. | Photo by May S. Ruiz / Hey SoCal
Thirty minutes before Masters of Taste opens, the Rose Bowl’s parking lot starts filling with cars and a queue forms at the VIP line. A few minutes before 3:00 volunteers walk down the queue to put colored paper bracelets on our wrists and ask us to show a picture ID to make sure we’re old enough to drink alcohol. And another gives us clear plastic cups inscribed with the event name for our beverage.
We enter the Court of Champions where there are participating food trucks, and a few food and beverage vendors. We are immediately attracted to the warm mini chocolate chip cookies and donuts from RicoRico Snack Bar in San Diego. Joel, who is happily offering sweets, tells us this is the first time they’re participating.
Masters of Taste participants on the Rose Bowl field. | Photo by May S. Ruiz / Hey SoCal
As we munch on the sweets, we make our way onto the Rose Bowl field. We secure a table and begin our gastronomic journey. There are so many tantalizing foods and sweets and refreshing drinks that it’s difficult to decide which ones to sample.
Granville is offering mac & cheese, which is always a crowd-pleaser. Mark Dix, the Food and Beverage Director for the California-based Granville Restaurant Group, informs us that they’ve been participating since the Masters of Taste began. He says this is a fun way to donate to a worthy cause.
Chaaste Family Market serving lumpia and turon. | Photo by Brianna Chu / Hey SoCal
Sushi Roku is a first time participant in the event. Joe, who is giving out baked lobster rolls, declares Masters of Taste is doing a great job in making it something that people look forward to.
Christian Esteban of Chaaste Family Market, a local Filipino store that sells products imported from the Philippines as well as freshly cooked dishes, informs us this is their first time at Masters of Taste and they’re enjoying it thoroughly. They brought a sound system and his brother is playing Filipino music and talking about their store. Chaaste has been serving the Filipino community in the western San Gabriel Valley for the past 40 years.
Short rib pasta from Marina Restaurant. | Photo by Brianna Chu / Hey SoCal
An array of cheeses from Agnes Restaurant and Cheesery. | Photo by Brianna Chu / Hey SoCal
Along the end zone of the Rose Bowl’s 50-yard line is the large tent occupied by Agnes Restaurant and Cheesery where there is a dizzying amount of cheese on the tables. Vanessa and Thomas Tilaka Kalb, this year’s host chefs, gladly chat with us.
“Agnes opened five years ago and this is our fourth time at Masters of Taste,” Vanessa says.
Photo by May S. Ruiz / Hey SoCal
Adds Chef Tomas, “It’s our first time being the host chefs and it’s been so fun! We got 13 cheese makers from across the country to donate hundreds of pounds of cheese. We have a fondue fountain, raclette station, and mac & cheese station. I said that we were going to transform the Rose Bowl into a field of cheese – if you build it, they will come!”
At the raclette station a server carefully and meticulously scrapes melted cheese onto the crackers on our plate. The mac & cheese looks too tempting to ignore. And we sample a variety of cheese.
Mini chocolate and red velvet cakes from Lark Cake Shop. | Photo by May S. Ruiz / Hey SoCal
Volunteers are going around handing out bottled water even as we continue to enjoy the delicious bites. But we can only eat so much and we reluctantly give up; we’re simply too full to go on. However, we stop at the Lark Cake Shop table to get one last sweet – a red velvet cake.
It’s the perfect finish to a thoroughly enjoyable afternoon of gustatory delights at Masters of Taste. And it’s all for a worthwhile cause.
Ivo Müller. | Photo courtesy of Ivo Müller / One Million Words – Rilke
The Sierra Madre Playhouse presents the highly anticipated North American premiere of “One Million Words – Rilke,” a hit solo show inspired by the groundbreaking work of poet Rainer Maria Rilke. Created by and starring Ivo Müller, the play is slated to have six performances: April 24, 25, 26 and May 1, 2, 3, 2026.
Müller portrays both an actor from the present and a poet from the past who connect, exploring creativity, belonging, and what it means to stay grounded in a fast-moving world. Originally developed in Brazil, the show arrives in California during the centennial of Rilke’s passing (1875-1926), before heading to its UK premiere at the Edinburgh Festival Fringe.
Austrian poet Rainer Maria Rilke, who wrote in German, is widely regarded as a master of verse. He is celebrated as an idiosyncratic and expressive poet. According to scholars his work suggests mysticism – exploring themes of personal knowledge and incredulity.
A prolific poet, Rilke wrote hundreds of published poems – most notably The Book of Hours, New Poems, Duino Elegies, and Sonnets to Orpheus. He is also known to have been a great letter-writer, having penned an estimated 10,000 to 17,000 letters in his lifetime.
Ivo Müller. | Photo courtesy of Ivo Müller / One Million Words – Rilke
Directed by Arieta Corrêa, with Darrell Larson co-directing the English-language version, One Million Words – Rilke, tells the story of a writer who, for nearly a year, struggles to create poetry and can only express himself through letters. An actor uses these letters to navigate his own challenges in a place where even his name feels foreign, shaking the foundations of his identity.
Together, the poet and the actor explore themes of love, the creative process, and a sense of not belonging, highlighting the importance of being grounded in the present moment – topics that resonate deeply in today’s world.
Ivo Müller is a stage and screen actor whose work spans Europe, the US, and his native Brazil. His stage credits include a production of Twelve Angry Men with leading Brazilian theatre company Grupo Tapa, in addition to his long-running hit solo performance based on the writings of Rainer Maria Rilke.
Müller’s cinematic work includes Tabu, the multi-award-winning Portuguese film directed by Miguel Gomes, which received the Critics’ Best Picture Award at the Berlin International Film Festival in 2012. Müller has worked with major studios such as HBO, Sony, and Globo TV. His recent credits include Hebe: The Brazilian Star (2019), in which he portrayed an AIDS-stricken hairdresser in the biopic about a celebrated Brazilian television host; and Night Stage, which premiered at the Berlin International Film Festival in 2025.
Ivo Müller. | Photo courtesy of Ivo Müller / One Million Words – Rilke
Alongside his acting career, Müller also served as a teacher and acting coach on the award-winning documentary film Cine Marrocos (2019), collaborating with homeless people and refugees living in an abandoned movie theatre in São Paulo. Other stage credits include Stitching by Anthony Neilson, Huis Clos (No Exit) by Jean-Paul Sartre, The Widows by Arthur Azevedo, Camaraderie by August Strindberg, Bitter Sicilian by Luigi Pirandello, and Hecuba by Euripides.
By email, Müller discusses when his interest in Rilke’s work commenced, what the play means to him, the choice of title for it, its enigmatic theme, and the audience reaction.
“While working as an acting teacher at a public school when I was in my twenties, I discovered copies of ‘Letters to a Young Poet’ in the library,” begins Müller. “At the time I was a young actor pursuing art outside my comfort zone, far from where I was born and raised, so I related deeply to what he was saying to the young poet.”
Ivo Müller. | Photo courtesy of Ivo Müller / One Million Words – Rilke
Though Müller was drawn to all of Rilke’s works, one in particular made the biggest impression. He recalls, “Years later, when I decided to create something for the theater using that material, I began reading his poetry more extensively. Rilke seemed to ‘appear’ to me – in bookstores, in quotes from films I was watching. I read much of his work but, without a doubt, the Duino Elegies are the ones that resonated most with me.”
Müller refers to this play as the Rilke Project and whereas he has been doing this solo show for over a decade now, he didn’t possess enough confidence when he first performed it. That assuredness only came in later years. It has also gone through different versions and these iterations have taken him around the globe and keeps the play fresh.
“The first – ‘Letters to a Young Poet’ – was performed from 2010 to 2013, with long runs in São Paulo and tours across many cities in Brazil,” enlightens Müller. “Then I stopped. I had grown tired of it and didn’t want to continue with that version.”
“In 2018, I was invited by the Biblioteca Mário de Andrade in São Paulo to bring the piece back,” Müller continues. “They offered a small budget, and I spoke with director Arieta Corrêa about creating a new version, which we simply called Rilke. That version was performed until 2019. And in 2020, I presented it via live streaming – as many artists did during the pandemic.”
Ivo Müller. Photo courtesy of Ivo Müller / One Million Words – Rilke
To reach a wider audience as well as to reflect where he is in life, Müller translated it into English. He had been writing the English version on and off for at least five years, but in 2024 – when he had a clear deadline – the process became more intense and he worked on it almost daily.
“The English version transformed the piece once again – it became a new play, for new audiences,” pronounces Müller. “Because of all these shifts, neither the play or my performance ever felt repetitive. Every single one has been memorable and so challenging that each performance feels like a milestone for me.”
Asked what ‘One Million Words – Rilke’ means to him, Müller replies, “This project has been a refuge for me, especially in moments when I’m not working on other projects and anxiety starts to surface. Beyond that, it brings me a sense of peace. At times like these, when we live with the looming possibility of a major war, it reminds me why this play feels important. As the poet Marina Tsvetaeva wrote about Rilke, he is a kind of ‘antidote’ to violence and to the brutality of the battlefield.”
Photo courtesy of Ivo Müller / One Million Words – Rilke
“I titled it ‘One Million Words – Rilke’ because of the vast amount of material you find when you search for Rilke online,” explains Müller. “He wrote more than 13,000 letters, many of which have been translated into different languages. But also, I wanted the show to have a distinct and memorable name.”
“I’m not sure my performance ten years ago matched my abilities as an actor,” Müller discloses. “Perhaps I was too immature to take on a solo show when I first performed it in Portuguese. At the same time, it taught me so much – it has been a constant and intense form of training. Now, performing it in English truly aligns with where I am. It’s a character who has never fully belonged to the place he was born, who is a foreigner, who speaks with an accent.”
Workshopping the play to mounting it on the stage was a journey in itself. Relates Müller, “I had planned to workshop the show at the Hollywood Fringe in 2024, but I was invited to work in Brazil, so I cancelled the run. In the end, that project in Brazil was postponed. But things happen for a reason. Later that same year, Tony Torn and Lee Ann Brown offered me a slot to workshop the show in New York, at Torn Page – the historic brownstone in Chelsea where actors Geraldine Page and Rip Torn once lived. That’s where One Millions Words – Rilke in English was first performed.”
Ivo Müller. | Photo courtesy of Ivo Müller / One Million Words – Rilke
Every performance has been remarkable but one particular show stands out in Müller’s mind. He recalls, “Looking at the project as a whole, one of the most unforgettable moments happened during the run at the library I mentioned. It’s located in downtown São Paulo, and the performances were free – which brought in a very diverse audience. One day, a man came to speak with me after the show. He said he was there for the second time because the performance had somehow made him feel better. Then he told me he had been living on the streets and struggling with very negative, intrusive thoughts. But after watching the show, he said something had shifted. Those thoughts were no longer overwhelming him in the same way.”
As to what he wants his audience to take away, Müller declares, “Whatever they take away from the day they see the show. As writer Janet Flincher said after watching it, ‘the show has more ideas in an hour than you usually get in a month.’ And I like to write on the Playbill: ‘No, do not try to understand everything that is said. Instead, take a deep breath and let the words flow into your soul. And if some parts of the show bring you memories or if you zone out, that’s great. You should ‘travel’ and come back.’ I want the audience to tell the story with me, based on how they feel in that moment, on that particular day that they experience it.”
Those enigmatic words could only make us want to embark on a journey with him.
Event Signage at The Huntington.| Photo by May S. Ruiz / Hey SoCal
The name Maria Ylagan Orosa is not a household name to many Filipinos. But her invention, the quintessential Filipino sauce known as banana ketchup, is in almost every Filipino’s kitchen pantry.
Orosa’s life-work was the cornerstone of “Second Sundays: Filipino Food Magic” held on Sunday, April 12, from 11 am to 2 pm. It was inspired by L.A. Times Distinguished Fellow Catherine Ceniza Choy’s research on the history and scientific contributions of Orosa in collaboration with the archival collections at The Huntington Library, the experiential and teaching work of The Huntington’s Kitchen Garden, and public engagement work of The Huntington’s Education Division.
Second Sundays: Fiipino Food Magic featured a Filipino food tasting of lumpia (spring rolls) with banana ketchup, banana mousse, and hibiscus iced tea; a hands-on planting activity where attendees plant garlic or onion in a small pot to take home; a conversation with Choy to learn about Orosa’s life and her scientific and humanitarian legacy; and a reading nook where people can explore books about Orosa and Filipino food.
Photo by May S. Ruiz / Hey SoCal
Choy explained by email when and how Second Sundays: Filipino Food Magic came about.
“Since September 2025 when I started my tenure at The Huntington as the 2025-2026 Los Angeles Times Distinguished Fellow, I’ve been working collaboratively with many people at The Huntington, and primarily the following individuals who I like to call ‘The Filipino Food Magic Team’: Shannon McHugh (Assistant Director of Research); Linde Lehtinen (Curator of Photography); Carola Di Poi (Head Gardener, Kitchen Garden and James P. Folsom Experimental Ranch Garden); Thomas Smith (Experiential and Teaching Gardens Manager); Kim Tulipana (Associate Director of Public, School, and Digital Programs); and Aaron Spoto (Education & Visitor Engagement Specialist).
“The event came about as a result of our team’s desire to see scholarly research being done at The Huntington outside of the traditional classroom and library, and our hope to have this research more accessible to people of all ages and backgrounds.”
“As a historian, author, and professor of ethnic studies at UC Berkeley, I am thrilled to be part of this project and to have my research on Filipino food scientist Maria Ylagan Orosa reach a broad, multigenerational audience!” enthused Choy. “Orosa’s achievements in food science and technology (for example, her inventions of nutrition-rich powders called ‘magic food’ saved many American and Filipino prisoners-of-war during WWII; the palayók oven, which enabled Filipinos to cook without electricity; and the iconic Filipino sauce, banana ketchup) and her humanitarian ethos that emphasized science for the common good are admirable. And they deserve our attention.”
The Huntington’s kitchen garden. | Photo by May S. Ruiz / Hey SoCal
As if those accomplishments weren’t enough, Orosa also invented 700 recipes using common Philippine fruits and vegetables.
While researching Orosa’s life, Choy discovered something unexpected. “One thing I found out about Maria Ylagan Orosa that surprised me and made me laugh was that she promoted Philippine fruits and vegetables in her recipes and the baking of sweet treats like cakes and cookies!” Choy marveled. “That reminded me that food is about joy and health.”
“I love reading Orosa’s recipes, but I’m not a very good cook,” confessed Choy. “My husband Greg does most of our home cooking. However, I do enjoy cooking nilágang manók and chicken afritáda, and sharing these dishes with Greg and our two children, Maya and Louis, who are now adults! I am also the daughter of Filipino immigrants, and I appreciate being able to share my Filipino heritage with them through my research, writing, and cooking.”
“Although Orosa was born and raised in the Philippines and she focused her life’s work on Philippine social issues, the foundation of her training as a scientist was forged in the U.S. and she continued her professional development as a food scientist in the U.S. and other parts of the world,” Choy added. “I think that Maria Ylagan Orosa would be pleased to know that, in the present day, The Huntington’s Kitchen Garden is a place of discovery of nature, science, and creativity for people of all ages and backgrounds and that it is the site for a celebration of Orosa’s work in food science!”
A display of Filipino fruits and vegetables and books at Second Sundays: Filipino Food Magic. | Photo by May S. Ruiz / Hey SoCal
Choy has dedicated most of her professional life researching, writing, and teaching Asian American history and Filipinos American history, and The Philippines’s contributions to the world. She also thinks there is a dearth of Asian American biographies.
“My first book – Empire of Care: Nursing and Migration in Filipino American History, published by Duke University Press in 2003 – explored how and why the Philippines became the world’s leading exporter of nurses to Western countries like the United States,” Choy said. “My most recent book, Asian American Histories of the United States (Beacon Press, 2022), presents an overview of almost two hundred years of Asian American history for a general audience. I know from over twenty years of experience in academia that we need more Asian American biographies.”
It was a cloudy day in San Marino but the weather didn’t dampen the enthusiasm of the group of people – many of whom were Filipinos – gathered for Second Sundays: Filipino Food Magic. As modern Filipino songs played in the background, we enjoyed bites of delicious lumpiá dipped in banana ketchup, which we downed with refreshing iced hibiscus tea. Banana mousse was the excellent finish to a delightful late-morning culinary interlude.
Linde Lehtinen doing a Children’s Book Reading. | Photo by Brianna Chu / Hey SoCal
Lehtinen started the program with a Children’s Book Reading of “Maria Orosa: Freedom Fighter, Scientist, and Inventor from the Philippines” by Norma Olizon-Chikiamco. She said she practiced it the night before and her three-year-old daughter had approved. Her daughter joined her on the stage afterwards clearly proud of her mom’s performance.
A few grey clouds parted to let a burst of sunlight through as attendees walked around to peruse the display of Filipino fruits and vegetables and reading materials on a table. Some wandered over to the garden beds to examine the various plants.
At noon the Conversations with Experts segment followed with Choy, Carola Di Poi, and Shannon McHugh. McHugh told us that The Huntington’s Research Library has 11 million manuscripts, books, and photographs and every year 2,000 researchers come to work with the objects in the archives.
(Shown from left) Catherine Ceniza Choy, Carola Di Poi, and Shannon McHugh. | Photo by May S. Ruiz / Hey SoCal
“Of those 2,000 about 150 every year have come by a competitive application process and we fund them to live here for a number of months,” explained McHugh. “And about six of those are such talented researchers that we don’t ask them to apply, we just beg them to come work with us – and Cathy is one of those people.”
McHugh began the conversation with a question for Choy. “This day was planned around celebrating the Filipino food scientist Maria Orosa. Can you start by telling us about her?”
Choy informed us that Orosa, who was born in 1893 and died in 1945, was a scientist, an inventor, and a humanitarian. The breadth of her work goes far beyond her invention of banana ketchup, which is similar to tomato ketchup but uses bananas as its base because they grow abundantly in the Philippines.
Attendees at Second Sundays: Filipino Food Magic. | Photo by May S. Ruiz / Hey SoCal
“Orosa valued using local food sources, making sure that food was sustainable and reducing dependency on products imported from the U.S.,” enlightened Choy. “She founded a 4-H Program in the Philippines modeled after the same program here, which is about raising fruits, vegetables, and livestock at the local level. She encouraged Filipino families to have their own kitchen garden. And it is appropriate that we’re here at The Huntington’s kitchen garden.”
“What a pleasure it has been working with Shannon, who actually came up with the title Filipino Food Magic, as well as Carola, who is responsible for the planting bed dedicated to Maria Orosa. It has been a wonderful experience,” Choy added.
Di Poi discussed how she learned a lot about Orosa while collaborating with Choy and that the planting bed is comprised of seasonal items Filipinos use to cook their food. She answered questions from attendees about growing their plants and gave tips on how to keep them flourishing.
The Maria Orosa planting bed at The Huntington’s kitchen garden. | Photo by May S. Ruiz / Hey SoCal
It rained suddenly and stopped just as suddenly before Choy came back on the stage for a Children’s Book Reading of “Feeding the Fight: The Story of Maria Orosa” by Ceej Tantengco and Sabrina Schnabelm. Second Sundays: Filipino Food Magic then closed with another Conversation with Experts.
While Choy continues her research work, she has begun writing Orosa’s biography and anticipates to finish it in a year or two.
For Filipinos, the banana ketchup is never far from our dining table – it is a necessary condiment to all our fried dishes. Thanks to Choy and The Huntington we will soon know so much more about the woman behind our beloved kitchen staple.
Masters of Taste 2026 host chefs Vanessa and Thomas Tilaka-Kalb of Agnes. | Photo by May S Ruiz / Hey SoCal
Masters of Taste, Southern California’s premier food festival held its media preview night on Wednesday, March 25 at the Rose Bowl’s Court of Champions. In a departure from previous previews, the event was staged outdoors directly beneath the Rose Bowl sign instead of in the locker room.
Guests were treated to a selection of food and drinks that will be served at Masters of Taste 2026 when it returns to the Rose Bowl on April 19. We mingled with other food writers and chatted with the chefs who were serving a sampling of food and beverage purveyors pouring alcoholic and non-alcoholic drinks.
Masters of Taste media preview held at the Rose Bowl’s Court of Champions. | Photo by May S. Ruiz / Hey SoCal
Local Masters of Taste participant and Pasadena native, Christian Esteban – son of the founders of Chaaste Family Market on Allen Avenue – happily invited attendees to try Filipino favorites lumpia (spring rolls) and turón (deep fried slices of banana in a crepe-like wrap). The Tilaka-Kalbs of Agnes Restaurant and Cheesery on Green Street in Old Pasadena greeted us warmly and offered fried cheese curds with a dilly ranch dip. Dennis Cruz of STK Steakhouse in Santa Monica served beef bone marrow, which Filipinos call “bulaló,” topped with a smidgen of caviar, toast crisp, and microgreens. We downed all the delicious fare with non-alcoholic sparkling water slightly flavored with hops from LA-based beverage company HOPWTR.
Christian Esteban of Chaaste Family Market. | Photo by May S. Ruiz / Hey Socal
There wasn’t time to indulge in other delectable fare and refreshing beverage because we had to head over to the dinner tables. After guests were seated, the program began as servers brought out the different courses and drinks that evening. Participating chefs and beverage producers were introduced and they described each succeeding dish or drink we were enjoying.
Midway through dinner, attendees were reminded of the reason we were there: to promote the event that benefits Union Station Homeless Services (USHS). Katie Hill – who was named CEO of USHS merely weeks before the Eaton Fire – quite literally had a ‘baptism by fire’ and was thrown headlong into the center of activity. USHS’s Adult Center was converted into a central hub for donated essentials and hot meals for the thousands of Altadenans and Pasadenans who became homeless overnight.
USHS CEO Katie Hill. | Photo by May S. Ruiz / Hey SoCal
When Hill took the stage that evening she reiterated USHS’s mission – to end homelessness through housing, supportive services, and connection to community. Last year the organization served more than 4,200 people. It helped over 1,200 individuals and families move into permanent housing and another 2,200 people stay in housing. It also assisted nearly 2,000 to find safety through shelter or outreach. At the same time, USHS served over 700,000 meals.
“These are big numbers, but every one of those numbers is a person, a family, a story,” Hill clarified. “But here’s the reality – homelessness is becoming part of us all; it’s reaching more people. And we’re seeing it affect people who never thought they would face it: people who lost their home through fire; people who are working full time, sometimes multiple jobs, and still can’t afford the rent; seniors on fixed income who have been priced out of the community they’ve lived in for decades. This is no longer something that affects someone else. It affects our neighbors, our co-workers, sometimes our own family and friends – people who did everything right and still found themselves without a safety net.”
Masters of Taste media preview menu. | Photo by May S. Ruiz / Hey SoCal
“So we took a hard look at where we are and where we can make the biggest impact,” continued Hill. “Over the past year, we’ve built a new three-year strategic plan for our staff, our partners, and the people we serve. It’s focused, it’s practical, and it’s centered on five priorities – preventing homelessness before it starts, integrating behavioral health in housing, expanding workforce development and job pathways, strengthening food access, and increasing affordable housing – because these are what would solve homelessness.”
“As a result of that planning, I’m excited to share that we are launching a new initiative that brings together two of those priority areas: food access and workforce development,” Hill disclosed. “It’s a culinary workforce program that will be operated out of our brand-new commercial kitchen and will allow us to do two things at once – feed more people as the need continues to grow in our communities and create real job pathways for the people we serve. Participants who earn food safety certifications will work in our commercial kitchen and build the skill they need to enter into the workforce.”
2026 Masters of Taste restaurateurs and beverage purveyors. | Photo By May S. Ruiz / Hey SoCal
And Hill announced the plan that received the biggest applause. “This is where THIS community stepped up in such a powerful way. Many of the chefs and restaurant partners involved in Masters of Taste have committed to hiring our graduates.”
“We are absolutely thrilled that our first cohort of graduates will work with our Union Station Food Services team as they are featured this year at Culinary Masters,” Hill added. “This is not just training, it’s not just food, it’s a direct bridge from homelessness, to employment, to long-term stability.”
Masters of Taste at the Rose Bowl. | Photo courtesy of Masters of Taste
“And that’s why Masters of Taste matters,” emphasized Hill. “Yes, it’s one of the top food events in L.A. but it’s also one of the most impactful. Every ticket, every sponsor, every story shared helps fund housing, food programs, and workforce development. Events like this help us fill that kitchen, train more people, serve more meals, and move more people into stable housing.”
“To everyone in this room – our sponsors and our media partners – you shape how people understand this issue and there are a lot of misconceptions out there. You decide what story gets attention and the stories that matter the most are the human stories – the ones about each person that we’re able to help, each family, each kid whose life has changed because of this work. And that’s what moves people to do something about it. Your work is critical in this effort and we’re so grateful for your partnership,” Hill concluded.
Vanessa and Thomas Tilaka-Kalb. | Photo by May S. Ruiz / Hey SoCal
When Masters of Taste 2026 host chefs Thomas and Vanessa Tilaka-Kalb came on stage, Thomas said they have been eagerly waiting for this opportunity to host the event and promises to make this year the best one yet. And Vanessa said they plan to transform the Rose Bowl into the “field of Cheese.”
The brainchild of Rob and Leslie Levy, owners of The Raymond 1886 and Knox & Dobson in Pasadena, Masters of Taste was a concept Rob adapted from a childhood friend’s organization in Chicago called “Inspiration Café” which delivers sandwiches to the homeless. When the former CEO of Union Station asked him to be on the board, he set out to find a better way to raise funds than asking people to get all dressed up to attend a gala they only felt obligated to attend. Leslie came up with the idea of having chefs gather for an event that was so amazing it didn’t feel like it was a charity affair.
Rob and Leslie Levy (third and fourth from left) surrounded by the Raymond 1886 team. | Photo courtesy of Masters of Taste
On their first year at the Rose Bowl, a spontaneous line dancing broke out on the field – a delightful occurrence that was totally unanticipated. It was when they knew they had stumbled upon a successful endeavor. There was another year when it rained which, incredibly, made it an even better event. Nobody left – 3,000 people on the field stayed through the rain; Levy said it was the most memorable year they’ve had.
Masters of Taste continues to grow bigger every year; it has flourished through the COVID pandemic and the Eaton Fire. This year’s participating restaurants are: Agnes, Alexander’s Steakhouse, Ayara Thai, Bianca Sicilian Trattoria, BOA Steakhouse, Casa Cordoba, Celestino Ristorante, Chaaste Family Market, City Club of Los Angeles, Descanso Restaurant, Dorasti, Emporium Thai, Fitoor Santa Monica, Harold & Belle’s Restaurant, Love & Salt, Marina Restaurant, Paloma, Paradise Dynasty, Pez Coastal Kitchen, Poppy + Rose, Ramen Tatsunoya, STK Steakhouse, Sushi Roku, The Exchange Restaurant (Freehand LA), The Italian Deli Co., The Second Wind, Truffle Brothers, Uchi West Hollywood, Wife and the Somm, and Zira Uzbek Kitchen.
Dim Sum from Lunasia Signature. | Photo by May S. Ruiz / Hey SoCal
Joining them on the Rose Bowl field on April 19 are these beverage sellers: Above Board Liqueurs, Akagisan Sake, All Season Brewing Company, Arts District Brewing Company, Broda Vodka, Broken Shaker, Bücha Whole Fruit Hard Kombucha, Burden of Proof, Empress 1908 Gin, Eever -Tree, Good Intentions Coffee, Knox & Dobson, LA Bay Gin Distillerie Californienne, Lyre’s, Meadows Estate Vineyard and Winery, Navarro Vineyards, Old Hillside Bourbon, Paperback Brewing, Pucker Up Lemonade Company, Sake High!, Savage Rabbit Distribution, Shelter Distilling, Shinju Japanese Whisky, Smoke Lab Vodka, Subourbon Life, Sunright Tea Studio, The Raymond 1886, Ventura Spirits, Warson Wine Company, and Xoloitzcuintle Tequila.
The bakeries and confectioners in this year’s Masters of Taste are: All About the Cinnamon, Bertha Mae’s Brownie Co., Cakes by Chante, Delight Pastry, Id-Éclair, Laderach, Lark Cake Shop, Magpies Softserve, Nothing Bundt Cakes, Pazzo Gelato, Perlas Ice Cream, Porto’s Bakery & Café, Rico Rico Snack Carts LLC, and The Pink Cookie.
STK Steakhouse is one of the many participating restaurants in Masters of Taste. | Photo by May S. Ruiz / Hey SoCal
Major sponsors for this year’s event include: U.S. Bank, AltaMed Foundation, City National Bank, Pepsi, the Rose Bowl Stadium, Smart & Final, Soyfoods of America, Sysco, Vesta Food Service, Westport Construction, and Whittier Trust.
With a vast array of food and beverages to be savored and imbibed, the 2026 Masters of Taste is coming back this April 19 better and more fun than it has ever been. More than an afternoon and evening filled with culinary, beverage, and sweet offerings along the 50-yard line at the iconic Rose Bowl, attendance will help USHS in its mission to end homelessness.
The completed “Healing and Hope” mural unveiled. | Photo courtesy of the Pasadena Buddhist Temple
The Pasadena Buddhist Temple celebrated the completion of the “Healing and Hope” mural at 3 pm on Sunday, March 22. The brainchild of Kyoko Gibbs, wife of the temple’s spiritual leader Rev. Gregory Gibbs, who collaborated with Miki Yokoyama, an artist and Eaton Fire survivor – it was a way of restoring the community after their life-shattering experience.
It was a festive occasion with about 70 people in attendance. A video about the progress of the mural was shown, after which attendees were invited to gather outside for the unveiling of the completed mural.
About 70 people attended the celebration at the Pasadena Buddhist Temple. | Photo courtesy of the Pasadena Buddhist Temple
Gibbs’s younger son Ren and his friends Winston and Felix – fittingly attired for the occasion in happi (a tube-sleeved Japanese coat) – walked rapidly as they uncovered the mural. Their fast-walking provided a light-heartened moment for the mothers present who found it entertaining. Keiro and Little Tokyo Service Center were recognized for their compassionate support. Yokoyama shared her story in creating the mural with the community and invited everyone to sign their names on the painted primer area, the ground part.
“Judicanti Responsura,” the music duo formed in 1984 by tubaist William Roper and percussionist Joseph Mitchell – who were fire survivors as well – set the stage beautifully to welcome people in the Hondo, the main building. The Altadena Cookie Company provided custom cookies for the event.
Miki Yokoyama, at right. | Photo courtesy of the Pasadena Buddhist Temple
The “Healing and Hope” mural took a few months to paint, with Eaton Fire survivors participating in the project. In mid-March, the mural was almost done.
Yokoyama recounts, “I completed the final touches on the mural last Sunday, the 15th. This week, I have been applying a top coat over the finished painting, painting the ground directly below the wall white, and preparing a space where everyone who participated in the mural can add their signatures.”
People’s signatures on the mural. | Photo courtesy of the Pasadena Buddhist Temple
For Yokoyama, the completion of the project is as joyful as it is bittersweet. “This experience has been incredibly meaningful to me,” states Yokoyama. “Working together with everyone on a single mural was something that truly helped and supported me. I had been struggling mentally over the past year since the fire, so I am very grateful to Kyoko for proposing this project. The time spent painting with everyone allowed me to focus on both the creative process and connecting with others. Each day, I felt that these moments were healing my heart. Seeing everyone working so hard on their parts of the mural gave me strength and courage.”
“My feelings right now are quite complex,” Yokoyama discloses. “I am very happy that we were able to complete the mural. At the same time, I feel a deep sense of sadness knowing that this time of creating together has come to an end. Since Kyoko and I first began discussing the location of the mural, I have been coming to the site five days a week for about two months, so it has been a very special part of my life.”
Custom cookies from the Altadena Cookie Company
Those sentiments are echoed by Gibbs, “I already miss the sense of togetherness from working together. It brought me happiness and strength. The bond we formed through the mural project, and of course during last year’s gatherings and activities, will stay in my heart and help me move forward! I will cherish all the encounters.”
“Feeling the results of the community’s teamwork is truly empowering,” adds Gibbs. “We are stronger together, and I am deeply thankful to be part of this caring and supportive community! This mural gives me a deep sense of hope, seeing how something beautiful and empowering has emerged from such a devastating event.”
Indeed the Eaton Fire, as tragic as it has been, provided the impetus for Altadenans to unite – whether to fight for accountability from county officials or to work on an artistic endeavor that commemorates their shared experience. And that is a wonderful outcome to celebrate.
Alexei Jawlensky. Mystical Head, 1917. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
An intimate exhibition at the Norton Simon Museum, called “Dear Little Friend: Impressions of Galka Scheyer,” focuses on the art dealer and promoter’s close relationship with the artists she represented. On view from Feb. 20 through July 20, it features works of art gifted to her by Alexei Jawlensky, Maynard Dixon, Peter Krasnow, and Beatrice Wood, among others; the show is curated by Gloria Williams Sander.
Culled from Scheyer’s archive, the exhibition offers a close look at the significant role the German-born collector played in bringing European modernism to the United States and promoting the so-called Blue Four – Lyonel Feininger, Alexei Jawlensky, Paul Klee, and Vassily Kandinsky.
The title “Dear Little Friend” comes from the affectionate salutation Feininger adopted in his letters to Scheyer and captures the personal connection and collaborative spirit that defined her activities in Europe and California. Alongside the artwork are correspondence and ephemera that testify to her dedication to art and to her artists, as well as the excitement she generated in pursuing her mission.
Vassily Kandinsky. Small Worlds II, 1922. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
In her lifetime Scheyer accumulated more than 450 works of art, according to Sander. All of the Blue Four’s work belonged to her and some were on consignment from the artists; what remained unsold at her death were returned to the artists or their estate. Composed of paintings and works on paper of various sizes and media – including illustrated letters – they could not be displayed simultaneously and would have been stored for rotation in exhibits and salons.
Scheyer bequeathed her collection to UCLA with the proviso that the university meet the same conditions of a 1944 gift of her friend Walter Arensberg’s modern art collection. Arensberg’s donation required UCLA to provide a building for his collection within five years; additionally, Scheyer stipulated that the university must publish a modest catalogue of her collection. When UCLA failed to meet the conditions, the fate of the Scheyer collection was left to a committee.
In 1953, the committee entrusted Scheyer’s collection of 450 works by the Blue Four and other modern artists (plus a cache of 800 documents) to the Pasadena Art Institute, which evolved into the Pasadena Art Museum and moved to a new building on Colorado Boulevard. The late Norton Simon took over the facility in 1974 and fulfilled the Scheyer trust’s provisions by publishing a catalogue of the collection.
Lucretia Van Horn. Portrait of Galka Scheyer, 1927-30. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
Born Emilie Esther in Braunschweig, Germany, in 1889 to a middle class Jewish family, Scheyer studied art and music. She had dreamed of becoming an artist but in 1915, after seeing the paintings of Alexei Jawlensky at an art exhibition in Switzerland, decided to be an art promoter instead. Thus, her career as an art dealer was born. She organized shows for him in Munich, Berlin, and various cities around Germany to drive interest in his work. Jawlensky gave her the moniker “Galka,” the Russian word for jackdaw – a gregarious, intelligent crow.
“It was Jawlensky who introduced her to Paul Klee, Vassily Kandinsky, and Lyonel Feininger, all of whom were on the faculty of the Bauhaus in Germany – a forward-looking university of art design and architecture,” explains Sander during a walkthrough of the exhibition. “They all became friends. This was in the 1920s when times were tough in Germany politically and economically. Artists were having trouble showing and selling their work so Galka decided to go to the United States to promote them.”
“They banded together and took on the name ‘The Blue Four,’” Sander says further. “They all had different artistic styles, but they wanted to give her a sort of rubric to help her organize exhibitions. ‘Blue’ has a long-standing importance for modernism in Europe and the United States; it’s considered to be a spiritual color.”
Peter Krasnow. Recalling Happy Memories, c. 1927. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
However, when Scheyer arrived in the U.S. she realized getting a foothold in the modern art world was a challenge. It was through a combination of fate and opportunities that she came to California and held her first show called “The Blue Four” at Stanford University in October of 1925. It was such a phenomenal success that the San Francisco Examiner proclaimed her the “Prophetess of the Blue Four.”
“The reaction – not only to the works that she was showing, but also to her charismatic delivery and lecturing – was immense,” states Sander. “In March of the following year, Roi Partridge, who was the chairman of the art department at Mills College, wrote to let her know how much he enjoyed her show and lecture and invited her to come to Mills. And Scheyer was able to augment her income through speaker fees.”
Scheyer promoted herself and the Blue Four using marketing brochures printed with the Blue Four logo of four blue stripes and contained endorsements and her skills as a lecturer and art dealer.
“Galka was one of the most amazing art impresarios in the United States in the early 20th century,” Sander pronounces. “She was a single woman in a profession as an art dealer inhabited by men, which was an unusual task she set for herself. The Galka Scheyer archive is a testament of her activism in the United States on behalf of four European artists whom she represented from the 1920s to the 1940s in trying to seed a taste for European Modernism and Abstraction. It was new art that was not conventional in California at that time, when it was very conservative and the prevailing art style was still in the Impressionism and post-Impressionism. Artists came here to paint the beautiful landscape.”
Beatrice Wood. Portrait of Galka Scheyer, 1934. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
“It was a real blessing for modern artists when Galka came to California,” continues Sander. “One of the first artists she met when she arrived in 1925 was Maynard Dixon. Most people would think of him as the artist who painted landscapes of the western United States and its native peoples. He had a modernist outlook in his flat spaces and cool colors. He loved Galka’s lectures and her style and introduced her to his wife, Dorothea Lange, who did those memorable photographs of people in desolate lands and plains during the Depression. It was Dorothea who took the photograph that Galka used for her brochure. Dorothea was a good friend of modernist photographer Imogen Cunningham, who was married to Roi Partridge who was also a printmaker.”
In a matter of months Scheyer found herself in an intellectual, creative community in the Bay area. It provided the foothold she needed in promoting the art of the Blue Four. Dixon and Scheyer maintained a friendship after she moved to Los Angeles. One of the paintings in the show is Maynard’s stylized drawing of Galka on which he inscribed, “To Mme Moderne Kunst” which means “To Mrs. Modern Art.”
“This is one of the most iconic images from the collection that shows Galka,” Sander explains as she points to another artwork. “It’s by an artist named Peter Krasnow, who’s Ukrainian-born but came to the United States in 1907. He attended the University of Chicago but he really wanted to come to the West Coast. His painting shows Galka at what many people would recognize at that time if they knew her. She has a pointer in her hand and teaching a rapt audience. The scene is a combination of realism and fantasy, and he named it ‘Recalling Happy Memories.’”
Edward Hagedorn. Galka Scheyer Viewing Modern Portraits of Galka Scheyer, c. 1926-28 | Photo courtesy of the Norton Simon Museum, Anonymous Gift, Courtesy of Denenberg Fine Arts
Another artwork in the exhibition is from Edward Hagedorn. “He was a self-taught artist from Berkeley,” explains Sander about the next painting. “Hagedorn was practicing a style that wasn’t getting much traction for him despite shows he held in artist associations and print clubs. But when he saw the Blue Four material at the Oakland Gallery show that Galka held in 1926, he was amazed. He saw an avenue for himself to move forward. They became friends and he did this beautiful drawing of Galka sitting on a wood chest and behind her is a pedestal. She’s thrilled to be looking at an artwork – on which there’s a number 4 – that a gentle giant is showing her. You can see the affection that is communicated in their glances.”
The film industry was taking off in Los Angeles in the 1920s when Scheyer met Josef von Sternberg, a renowned Hollywood director. He asked her to show him some of the pieces she was selling and he bought $600 worth of artwork. That confirmed that L.A. was the place for her and she made plans to move. The sale, which was massive at that time, enabled her to purchase a parcel of land and she asked the modernist architect Richard Neutra to build her home in the Hollywood Hills.
“In 1927 Galka met Beatrice Wood, a renowned ceramicist in Los Angeles, who was a friend of Walter and Louise Arensberg, who had a home in L.A. and lived in New York,” Sander relates. “They were the first collectors of modern art in the United States and had salons that Beatrice and Galka would frequent. Wood created a piece that showed Galka holding court.”
Wolo Trutzschler. Caricature of Galka Scheyer, 1935. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
One artwork in the exhibition is from Trutzschler. “Swiss caricaturist Wolo Trutzschler came to the United States, and went to Chicago for a bit,” informs Sander. “He made money doing caricatures of people at cabaret and selling the art to newspapers. He decided to come to L.A. in the late 1920s and lived on Olvera Street and was part of the German émigré community. He met Galka and created a piece depicting her in her milieu – she’s holding a number 4 and a trowel in her other hand because she loved to garden. Next to her is her poodle, whom she called Blue-Blue.”
That Scheyer made numerous connections is evident in the exhibition’s displays. “Galka met Angelo Ravagli who married Frieda Lawrence, the former wife of D. H. Lawrence,” says Sander. “The Ravaglis lived in New Mexico but they started coming more frequently to Los Angeles in the 1930s. Through Galka, they made the acquaintance of a rare book dealer in L.A. who became the exclusive publisher of the manuscripts of D.H. Lawrence in the United States. As a thank you gift to Galka, Ravagli made a drawing showing her lying on a rug on a hill where her house would have been, with her poodle by her side.”
Scheyer mounted more than 60 exhibitions from 1925 to 1944, including one-man shows (i.e. Feininger, or Klee). They include traveling exhibits around California and the U.S. held at museums, galleries, and university art galleries. Additionally, she hosted salons at her home that had art displays and lent artwork to the salons and parties of other clients. The artworks she loaned to Marlene Dietrich in March 1929 (a list of which is included in the exhibition case), is an example of one such informal installation.
Angelo Ravagli. Galka Scheyer, 1936. | Photo courtesy of the Norton Simon Museum, The Blue Four Galka Scheyer Collection
The last part of the exhibition shows Scheyer’s house. “I wanted to bring people’s attention to her house because it’s inseparable from her work – and her spirit in many ways,” explains Sander. “Galka worked with Neutra to build a house that’s open to nature but with plenty of wall space. She had moveable screens on which to hang works of art for special shows and every room in her home displayed the art of the Blue Four. She had salons where people discussed art. She was the first resident at the top of the hill and was able to get permission from the city to name the street Blue Heights Drive. And the number she took for the house was 1818 because eight is divisible by four.”
“Galka lived there until her death in 1945,” Sander states. “It was sold in 2024 to a German art collector and business man and it will be the home of the newly established Blue Heights Art & Culture whose mission focuses on fostering contemporary artistic creation and hosting curated exhibitions within this historically significant, modernist space.”
Sander hopes viewers of the exhibition take away that “Galka Scheyer served as a powerful catalyst for the West Coast art scene, bridging the gap between bold new trends and a growing audience. Her work was driven by kinship, not just commerce. The portraits, artworks, and letters on display are more than artifacts; they are tokens of gratitude from a community that responded to her vision with enduring friendship.”
Over eight decades after Scheyer’s death, she will continue to be a source of inspiration for artists who will take part in the Blue Heights Art & Culture’s residencies. Through exhibitions like “Dear Little Friend: Impressions of Galka Scheyer” and “Maven of Modernism: Galka Scheyer in California” before it, the Norton Simon Museum is ensuring that her legacy as an ardent lover of art lives on.
The Healing and Hope Mural painting in progress. | Photo courtesy of Miki Yokoyama / Pasadena Buddhist Temple
The Eaton Fire killed 19 people, destroyed over 9,000 structures, and brought untold grief to the community. More than a year later, displaced Altadena and Pasadena residents are still reeling from the trauma. There are constant reminders of what they lost and memories of that fateful day are still fresh in their mind.
As much anguish as the Eaton Fire wrought, there have also been many instances of a community coming together in their shared experience. The most recent of such moments is a group painting initiated by Miki Yokoyama who created a mural at the Pasadena Buddhist Temple. The brainchild of Kyoko Gibbs, wife of the temple’s spiritual leader Reverend Gregory Gibbs, the mural symbolizes what she thinks everyone needs – healing and hope.
The temple almost became a casualty of the fire had it not been for the bravery of neighbors who put out the flames. Gibbs recalls, “Greg and I, along with our younger son, live in the temple residence, so we followed the evacuation order in the very early morning of Jan. 7 and drove to a hotel. Watching the news at the hotel, we recognized the temple’s neighbors getting burned down despite the efforts of firefighters. Feeling urged to return to the temple, we drove back there to find our ‘heroes’ and some other temple members trying to extinguish the flames that had landed between the tea garden and the edge of the main building, Hondo.”
The Pasadena Buddhist Temple at night. | Photo courtesy of the Pasadena Buddhist Temple
“As we heard and learned about the temple members, associated friends, and neighbors’ loss and damage due to the fire, we were deeply hurt – not just physically but also emotionally,” continues Gibbs. “No words were spoken; we cried while holding and hugging them.”
Immediately, the temple community collaborated on events and efforts to help fire survivors. “Since two days after the fire, the restaurants in Little Tokyo (Azay and Far Bar) and San Gabriel (Yama Sushi), Little Tokyo Service Center, Keiro, Pasadena Japanese Cultural Institute, and the churches and temple in the affected Altadena and Pasadena areas, along with many others such as Buddhist Churches of America, Tanaka Farms, King’s Bakery, Go For Broke, and many more, have stepped up to the plate. Each individual person and organization gave them a hand in a selfless and compassionate way. As we continue to move forward, I am truly grateful for everyone’s kindness.”
The Gibbses themselves have been the recipient of people’s generosity. “During the remediation process for all the temple facilities, we needed to relocate to the temple’s friends’ house for about two months,” Gibbs says. “We were so fortunate to receive their kind offer. The temple is now fully restored and I am very thankful for those two temple board members who tirelessly worked with the insurance and intensive cleaning companies.”
The temple is now fully restored. | Photo courtesy of the Pasadena Buddhist Temple
For its part, the temple raised and distributed close to $90,000 to fire victims and actively continues to raise funds for them. “On the first anniversary of the fire, we presented them with a card and a small monetary gift. We wanted them to know that we are thinking of them. Additionally, we will be holding a White Elephant Sale, which opens to them first for free before the general public. We will also have a Girls’ Day Celebration with the tea ceremony, which they will be invited to join. More financial support will be distributed soon from the social welfare committee of Buddhist Churches of America (Pasadena Buddhist Temple is a part of BCA).”
Another activity that took place one year after the Eaton Fire was the creation of a mural. Recalls Gibbs, “As the first anniversary of the fire approached, I was thinking about what we – as the whole affected community – could do to help heal and inspire hope. Then, SOGs (Sons of Gardeners), who volunteer twice a week to maintain the temple grounds, were discussing painting a concrete section of the ramp outside. And it hit me with the idea of creating a mural instead of just painting. I brought up this concept with them and shared it with the temple board, and they all rallied behind it right away!”
“Fortunately, Keiro, which has been a financial supporter of activities and events for fire survivors, also agreed to continue its support,” Gibbs says further. “I knew who I needed to ask to lead the mural designs – Miki. She isn’t a member of the temple but I met her through the meal program for fire survivors.”
In mid-November, Gibbs reached out to Yokoyama and proposed crafting a mural and inviting the participation of those who had lost their homes in the fire as a way to help restore the town. They discussed what kind of wall painting they wanted to create and developed the concept together. To signify what it represents, they called it Healing and Hope Mural.
Miki Yokoyama. | Photo by May S. Ruiz / Hey SoCal
The Eaton Fire decimated Yokoyama’s home and all her artwork, and wreaked havoc on her mental health. She discloses, “The emotional shock was immense; I struggled with symptoms of PTSD for a long time. During the first year after the disaster, I believe that painting truly saved me. Now, through this project, I find healing in creating together with the temple community and others who were also affected by the disaster. Realizing that I am not alone and receiving strength from everyone involved fills me with deep gratitude.”
Yokoyama describes how she transferred the painting – measuring approximately 70 feet long by 56 inches tall – on the wall. “I first created a rough sketch on paper and then projected it onto the wall. However, many of the finer details will be added freehand while looking at the actual wall. From here, I plan to add more delicate lines and dots to develop the piece further.”
Yokohama’s drawings of the mural. | Photo courtesy of Miki Yokoyama
“This project is open to everyone, regardless of artistic experience,” explains Yokoyama. “Before we began painting together, I prepared the mural by drawing the outlines in black ink. Although I predetermined the colors, my hope is simply that everyone enjoys the process. I tell participants that it is perfectly fine if they paint outside the lines or even cover the black outlines. I will make any necessary corrections afterward, so everyone is free to add color as they wish.”
“At present, the mural is about halfway complete,” Yokoyama adds. “Much of the white space has been filled, and the next steps are to apply a second layer to the lighter areas of ink, retrace the black outlines, and then add finer lines and dots. By layering these delicate details, I hope to bring greater depth and subtlety to the work. Even if it takes time, I am committed to leaving behind the best possible piece.”
“As we continue working together with the community – shaping it according to our shared intentions – I am also excited to see how the mural will ultimately come together,” Yokoyama says further. “I am very much looking forward to its completion.”
One of the Eaton Fire survivors who went to the temple to paint heard about it through her mom who is a member of the temple. She asks that her name not be mentioned but graciously agrees to talk about her participation.
“Miki was there and she showed me where to paint, provided paint and brush, and instructions,” she begins. “I painted the windows on the house light blue as she instructed. She explained that it was okay to paint over lines as these will be repainted after the color is applied; the community painters are adding color and the artists are adding detail. While I was there one of the artists was refining with details. She used a Q-tip to add white spots to a red butterfly. The mural is a representation of the local community and the hope that exists in the Eaton Fire area to rebuild the physical and emotional aspects of the community.”
Photo by May S. Ruiz / Hey SoCal
Painting the mural offered a brief respite from her daily stresses in the aftermath of the fire. She says, “The consequences of the fire a year later are still part of a continuing domino effect in various ways that will remain for many years. Growth and hope are also results of this effect. Projects and institutions such as the Pasadena Buddhist Temple bring the community together for positive focus and forward momentum.”
It is exactly what compelled Gibbs to come up with a community endeavor. She declares, “Through this experience – coloring in the mural while chatting with others or working quietly – I would like all to feel connected and empowered. You are not alone. We are stronger together.”
The Dorano Jewelry store on Huntington Drive in Arcadia. | Photo by May S. Ruiz/Hey SoCal
Gold is regarded as a risk-averse asset and safe haven during times of uncertainty. And recent geopolitical instability sent the price of gold soaring to an unprecedented high of over $5,000 per ounce then plunged below that mark.
But long before the huge demand for it and the wild price swings grabbed financial news headlines, the enduring value of gold inspired songs from Neil Young’s “Heart of Gold” to Harry Styles’ “Golden.” The metal — universally enjoyed as a piece of jewelry — symbolizes beauty, longevity, power, status and wealth.
In certain Asian cultures, gold figures prominently in people’s customs and traditions. Newborn children in China are commonly gifted with a piece of gold jewelry; gold is also a part of the Lunar New Year celebrations. In Korea, a gold ring is usually given for a child’s first birthday. In India, gold is purchased during the annual Diwali festival to bring wealth and good luck.
For Garen Avetisyan, proprietor of the Dorano Jewelry store on Huntington Drive in Arcadia, jewelry and the craftsmanship behind it are his life’s work. Creating memorable pieces are a source of pride and joy for this immigrant from Armenia who now calls Glendale home.
A 14-karat yellow gold necklace and ring with fancy sapphires. | Photo by May S. Ruiz/HeySoCal.com
Avetisyan’s story is that of very immigrant’s journey from their homeland to a new place to build a new life. Born and raised in Yerevan, Armenia, he started working in the jewelry business when he was 18. In 2012, at the age of 37, he and his family migrated to California and the following year he opened Dorano Jewelry.
Making jewelry is an art and skill that Avetisyan honed back in Armenia. He relates, “I had family members in the jewelry business and I always enjoyed watching them work, so I decided to follow in their footsteps. I took private jewelry courses in Armenia and also spent years observing, reading and educating myself on the profession and training. I still continue to expand my knowledge to this day.”
Uprooting oneself and beginning anew in a foreign country is a huge challenge and Avetisyan knows it only too well.
“I began looking for a storefront for my jewelry business soon after my family and I came to California,” Avetisyan recalls. “Since I had only been in America for such a short period of time, I had no credit history. Therefore, a lot of people turned me down despite the fact that I was willing to pay for a few months in advance. It was very difficult to gain people’s trust. I stumbled across one location in Arcadia and spoke to the owner directly. Thankfully, after our conversation, he decided to give me a chance and that’s how my shop opened in Arcadia in early 2013.”
A display case at Dorano Jewelry. | Photo by May S. Ruiz/HeySoCal.com
The moniker he gave to his shop — Dorano Jewelry — is a portmanteau of sorts and has a special meaning. Reveals Avetisyan, “I always admired the Italian language and used it as an inspiration for my store name. ‘Oro’ is Italian for gold and ‘d’oro’ refers to something made of gold. I incorporated these words and created the unique name of ‘Dorano.’ I believe it reflects the elegance and timelessness associated with gold jewelry.”
While finding the location for his shop was a fortuitous initial step, making a success of the business seemed an insurmountable undertaking early on in his business venture. He struggled to make ends meet yet he persevered.
Avetisyan says, “The first few years were very difficult for me because I was starting over in a new country and speaking a language not native to me. I had no connections, no reputation and didn’t know a lot of people. But I chose to continue this journey because I felt a huge responsibility to continue my life’s work that I had begun in Armenia. I didn’t view this passion of mine only as a job but also a skill that had so much history and hard work behind it. I had confidence in myself and my ability and I knew that if people gave me a chance, they would also recognize value in my work.”
“I realized that I was making progress when customers would visit the shop and share that they were recommended by my other clients,” continues Avetisyan. “I was excited that word of mouth was growing because it meant I was building trust with the community. As more people became happy with the work and product I was providing them with, I knew that all the struggle was worth it and continued to work just as hard.”
Garen Avetisyan, jeweler/gemologist and proprietor of Dorano Jewelry. | Photo by May S. Ruiz/HeySoCal.com
There is no shortage of jewelry stores in the vicinity — every mall has at least one — where shoppers can buy a necklace, ring or a pair of earrings. But what could be more exceptional than owning a bespoke piece that reflects one’s individuality? Custom work is Dorano Jewelry’s niche and Avertisyan has set out to make his shop stand apart.
He declares, “Dorano Jewelry is unique due to our deep expertise and detailed attention to each client. The staff is skilled across all aspects of the business, including custom designs, appraisals, repairs, sales and more. Thus, customers receive all services in one place quickly yet efficiently. This helps us ensure consistency and quality, and build close relationships with all our guests.”
“Dorano Jewelry holds itself to a high standard and has maintained this benchmark of care since day one,” Avetisyan emphasizes. “The business first advertised on television and social media to try and spread the word. After our first year, we relied primarily on word of mouth, focusing on growing the business through trust and reputation. Over time, satisfied customers became the best promotion.”
Being able to offer a variety of services has served Avetisyan well. “Dorano Jewelry operates as a ‘one stop shop’ as the business is evenly divided among custom work, repair services and jewelry sales from our display,” he says. “Each of these areas makes up approximately one-third of our business, allowing us to serve a wide variety of customer needs.”
14-karat white gold ring with green tsavorites and diamonds. | Photo by May S. Ruiz/HeySoCal.com
Many people think bespoke jewelry is prohibitively expensive — a misconception that Avetisyan hastens to clarify.
“Custom jewelry is definitely affordable at Dorano Jewelry,” Avetisyan asserts. “The most requested items are engagement rings and wedding bands and we offer a large variety of options and customizable details to best fit our clients’ budget. Whether they are simple elegant designs to more intricate pieces, we work very closely with all clients to ensure they receive the best quality within their budget.”
But it isn’t just the product and service that make Dorano Jewelry different. Avetisyan clarifies, “Dorano Jewelry is more than just a jewelry store, it’s a community and welcoming space. We focus on building a relationship based on trust and connection, allowing clients to come to us for guidance and support. Through this genuine relationship, we celebrate the most meaningful life moments together — from engagements to weddings to family milestones. The community feeling is what makes this store so special.”
Repeat business and customer loyalty are vital for every business’s success. And Dorano Jewelry has been fortunate to have both.
“Sixty percent of our business is generated from existing clients while 40% comes from new customers,” says Averisyan. “The majority of our clients are locals — I would say about 80% are from Arcadia, Pasadena and nearby cities. The remaining 20% is from Santa Barbara, San Diego and even clients who now reside in Las Vegas and visit us sometimes.”
14-karat rose gold ring with pink quartz, diamonds, pink sapphires and rubies. | Photo by May S. Ruiz/Hey SoCal
Asked if there’s one particular piece he has created over the years that is memorable, Avetisyan quickly replies, “A client wished to design a custom ring based on a lost heirloom left behind by the client’s ancestors. We worked closely together to maintain the sentimental value of the ring based on the client’s memory and description of the heirloom. Our goal was to preserve its history while also customizing the ring to best fit the client’s style and needs. We used an amethyst for the center stone and incorporated Indian symbols reflected through shape and detailing, referring to custom 3D designs to guide us. We achieved a refined and timeless finish.”
“I specifically remember the extensive research involved with this piece,” Avetisyan expounds. “To fully understand what the client wanted and realize the client’s vision, I studied symbolism and cultural meaning to best design the historical elements with accuracy and respect. I had the chance to explore this cultural background, making the piece challenging to make but with a rewarding outcome. It was one of the coolest projects I completed, learning a lot in the process.”
Having a piece of jewelry created by Dorano Jewelry means acquiring something that evokes significance for the person wearing it. Whether it’s to celebrate Valentine’s Day, a birthday, a wedding or anniversary, jewelry makes any special occasion sparkle. But it can also be just a practical, wearable investment — and jewelry makes even the everyday shine.
For residents of the Michillinda Park neighborhood in East Pasadena, an ostentation of peacocks promenading on the boulevard is an everyday sight. But on a recent Sunday morning, we are pleasantly surprised to observe dozens of antique and vintage automobiles driving past our house.
It is a fascinating spectacle that invites further investigation. I take a break from pruning my roses and walk about 200 feet to Michillinda Park where I see several antique cars on the road while people chat by tables laden with pots of hot cocoa and coffee. I learn that this car show is an annual event and someone points out the organizers, Jean and Peter Eastwood, who are siblings and lifelong Pasadena residents.
A 1909 Pierce Arrow (left) and 1920 Model T Ford (right). | Photo by May S. Ruiz / Hey SoCal
I approach the Eastwoods and Peter proudly says that this is the 69th year they’ve been holding this annual antique car show. He proceeds to give me the history of the event, which is known as the Holiday Motor Excursion (HME), but interrupts himself to inform me that he actually has the history written down somewhere.
Indeed for the 40th anniversary of HME, Peter authored a write-up about how the event originated on behalf of the Eastwood family.
December 25th in Southern California is, more often than not, sunny and clear. It was on one of those Christmas days back in the early 1950s when the seed was planted that eventually grew into the Holiday Motor Excursion.
In Pasadena that Christmas morning, Doug and June Eastwood suggested to their five children, after opening their presents,“Let’s go to Uncle Warwick and Aunt Millie’s to see what (cousins) Joyce and Elaine got.”
Jean and Peter Eastwood. | Photo by May S. Ruiz / Hey SoCal
It did not take long for Richard, Sharon, Jean, Peter, and David to squeeze into Dad’s Model T Ford for the ride over there. After the cousins compared gifts, Warwick’s 1905 Buick was cranked up and a short trip around the corner took the families to Bill and Lola Collier’s house for a look at Nancy’s presents. This prompted Bill to take out his 1910 Maxwell and the three families went for a short ride. Then to Ward and Betty Kimballs’s house for Christmas cookies and tea.
It only took a year or two for the spontaneous Christmas Day itinerary to expand and visits were made to the homes of John Walgamott, Bob Coombes, Louis Cook, Dick Mendelson, and other Pasadena area Horseless Carriage Club friends.
The sight of a small caravan of antique cars crisscrossing Pasadena only hours after Santa had been there was always greeted with cheers from the neighborhood residents.
1920 Duesenberg racecar. | Photo by May S. Ruiz / Hey SoCal
Before long, club members from outside the area were feeling left out. The explanation that the Eastwoods were just out having some fun and that it really wasn’t an organized club event was not what they wanted to hear.
It was at this time in the mid-1950s when families in their antique cars started showing up at Doug or Warwick’s house on Christmas morning, not wanting to miss out on “the fun.” Over the years, homemade cookies had to be supplemented with store bought doughnuts and the first of several 100-cup coffee pots were put into service.
1911 Pope Hartford. | Photo by May S. Ruiz / Hey SoCal
Sometime in the late 1960s the event date was changed to the weekend between the holidays and the departure point was moved to the Pancake House located between Doug’s and Warwick’s homes. As the event grew in popularity, the Model T Club and other clubs with newer cars joined in. In the late 1980s, to maintain the flavor of early day motoring and to keep the event to a manageable size, participants were invited to bring vehicles built before 1933.
Over the years the HME has been fortunate to be invited to visit many wonderful family homes, collections, and businesses in the area. Many visits have been made to the Dean Hensley, Burton Burton, and Don Ricardo Collections, just to name a few.
Somewhere along the line the HME. was adopted as a Horseless Carriage Club of Southern California event but the Eastwood family still handles all the event planning. For over 30 years Warwick and Millie hosted the dessert stop at their home at the event’s conclusion. In 1994 they decided to take it easy and Gary and Sheryl Hunter eagerly volunteered to take over and host the party at their home in nearby Arcadia.
The popularity of the event can be gauged by the 450 nametags and 150 copies of driving instructions given out last year – not to mention 30 dozen doughnuts, 400 cups of coffee, and 200 cups of orange juice.
1925 White Yosemite Tour Bus (yellow car on left), 1923 Model T Ford (right); 1910 Jackson (in back)
At some later time, the Arcadia County Park became the Holiday Motor Excursion’s departure point. Cars arrive as early as 6:30 but the event officially commences at 7:30 and the tour begins promptly at 9:30.
“This year there are 110 participating cars,” discloses Eastwood. “I believe the oldest car this year is a 1909 Stanley (steam powered!). A few arrived on trailers but most are driven to the event. I know that two of the cars that came by trailer were from Arroyo Grand and Hanford, California.”
1929 Model A Ford. | Photo by May S. Ruiz / Hey SoCal
Continues Eastwood, “The tour route is usually around 30 miles. We drive about 10 miles winding through the picturesque neighborhoods of Arcadia and Pasadena. Then we stop at a different park for coffee and donuts provided by our club – the donut stop is part of the event’s annual traditions.”
“Then we carry on for another 20 miles through more scenic Pasadena neighborhoods along the arroyo and other areas,” Eastwood adds. “We then circle back for lunch at Clearman’s North Woods Inn or Clearman’s Galley on Huntington Drive and Rosemead Blvd. From there we take a short drive to a nearby club member’s house for dessert. The route changes every year because we want to keep people guessing. But we come to Michillinda Park every two or three years”
The Horseless Carriage Club (HCC) doesn’t promote the event to the public according to Eastwood. The information is posted on the club’s website for the car owners. HME shirts – the artwork for which was created by Disney animator and HCC member Ward Kimball – are available at the event and they are discussing selling them through the club website.
Model T Ford. | Photo by May S. Ruiz / Hey SoCal
Unlike other antique car shows, HME is not a fundraising affair. Eastwood clarifies, “The event is merely an opportunity for the car owners and their families to have some holiday fun. The emphasis is on the driving aspect. We are fortunate that we can enjoy our cars this time of year – many clubs in other areas don’t have the weather we have.”
After a while, the tables of drinks and donuts are cleared and club members get in their cars to resume the tour. The drivers and passengers of the antique cars happily wave to people who happen to see them making their way to their scheduled stop on the route. And at every stop bystanders and onlookers marvel at the exquisite automobiles.
What started for the Eastwood family as a fun Christmas day jaunt around the neighborhood has grown into an eagerly anticipated annual tradition for hundreds of car enthusiasts and even those who might know next to nothing about antique cars. Watching the beautiful rare cars we don’t normally see on our streets certainly puts a smile on our face. What a delightful treat!
A view of the Eaton Fire on Washington Blvd. in north Pasadena. | Photo courtesy of Grigory Heaton/Wikimedia Commons (CC BY-SA 4.0)
Jan. 7, 2025, dawned bright, clear, and very windy in the San Gabriel Valley, with the mountain peaks clad in snow. Most Altadenans and Pasadenans went about their usual chores and workday despite the windstorm. But by the end of that fateful day the lives of several thousand people in these two towns would be upended.
According to news reports, shortly after 6 p.m., residents observed flames on a hillside in Eaton Canyon. While the fire itself was not large, 59 mph wind gusts pushed sparks across the canyon. The wind shifted the embers west into central Altadena and decimated a large swath of the unincorporated L.A. county area.
The Eaton Fire was the fifth deadliest and second most destructive wildfire in California’s history. Approximately 7,000 residential and commercial structures burned to the ground overnight, with 19 deaths reported. Most of the residents are still temporarily housed, residing in motels and extended-stay hotels in Pasadena and neighboring cities.
The Rose Bowl parking lot serves as the base for hundreds of firefighters. | Photo courtesy of Tom Stokesberry of the Forest Fire Service/Wikimedia Commons
An Altadena man, David Ly, and his family were among those who were displaced. He recalls the horrors they experienced.
“Jan. 7 started for us like a normal day,” says Ly. “We heard about a fire, but at first we didn’t think much of it. Fires happen, and you assume it’ll be contained. Later that day, my brother, who lives in the Highland Oaks area of Arcadia, called and said he could see the fire raging behind his house. He told us he was evacuating to our parents’ place and that we should do the same because the wind could turn at any moment. That’s when it became real and was truly one of the most traumatizing days of my life.”
“I remember going back on the morning of Jan. 8 thinking the fire was done because as I drove up Lake Avenue, everything seemed quiet,” Ly continues. “I had no idea I was literally driving into an area still burning. I saw homes on fire, and it was this surreal scene of memories literally disappearing. When I reached my own street, the power lines were down, and there was just this heavy sense of disbelief. I locked eyes with neighbors who were also there, and we just stood silently crying. By the time I got to where my house had been, it was all gone. You could still smell the smoke. I’ll never forget that feeling of seeing everything just, gone.”
Ly and his family proceeded to drive out to Dana Point that same day. Then they went to Phoenix to stay with family, to get some distance, and breathe. While it was a moment of disbelief and trauma, for him it was also when he began to realize how many others needed help. The past year had been a difficult journey, but it also gave him purpose — help others rebuild.
David Ly at one of the rebuild sites. | Photo courtesy of Rebuild Altadena
“Rebuild Altadena was born from the ashes of this fire, so we are not business as usual,” declares Ly. “Our focus is on rebuilding smarter and more fire-resilient, based on what this community has lived through. The concept behind it is rebuilding as a community. After the fire, it became clear that families were overwhelmed trying to navigate everything on their own — the County process, insurance, engineering, timelines, and rising construction costs.”
“We bring together a coordinated network of designers, engineers, and contractors who are focused almost entirely on Altadena,” Ly explains. “Just like our organization, their priority is helping this community rebuild – not chasing projects across Los Angeles. That’s where our Group Build approach comes in. It means our entire network is concentrated on the same area, working under the same County requirements and fire-rebuild conditions. By staying local, our partners are able to respond faster; keep pricing lower and more stable, even as tariffs and material costs fluctuate; reduce inefficiencies caused by labor shortages; share real-time knowledge from project to project; and move families through the rebuild process together. That level of coordination simply doesn’t happen when a contractor has job sites scattered across multiple cities.”
Rebuild Altadena uses bulk purchasing to protect homeowners from sudden cost spikes. By buying materials — including cabinets, tile, FirePoint plywood, HVAC systems, and lighting — in volume, the company can lock in pricing and reduce exposure to shortages and supply-chain disruptions.
“At the heart of everything we do is a neighbor-first philosophy,” emphasizes Ly. “Rebuild Altadena exists to make sure families who want to come home can do so with a rebuild that is reliable, locally built, transparent, and fire-resilient. This isn’t about shortcuts or volume — it’s about rebuilding Altadena smarter, safer, and with accountability that lasts long after construction is complete.”
The company is supported by a network of about 25 building professionals, comprised of contractors, designers, structural and civil engineers, surveyors, permit expeditors, and specialists in fire-hardening and resilient construction.
“We also have key staff members who bring deep lived experience and local leadership to the work,” Ly says. “One example is Steve Lamb, a fifth-generation Altadenan who lost his home in the Eaton Fire. Steve previously served on the Altadena Town Council and is a residential designer whose career has focused on historical preservation. His background reflects the values of this community — respecting Altadena’s architectural character while helping it rebuild stronger and safer. People like Steve don’t just contribute professional expertise; they carry the history, pride, and long-term vision of Altadena.”
David Ly and the Rebuild Altadena team. | Photo courtesy of Rebuild Altadena
“And our network continues to grow every day,” adds Ly. “More individuals and companies reach out because they want to help. They see the need, they believe in the mission, and they want to be part of rebuilding our town the right way.”
Since its founding, there have been four Rebuild Altadena Fairs, each growing dramatically as the community and industry partners have rallied behind the effort. Each Fair brings in 50 to 70 building professionals — architects, designers, engineers, builders, SBA representatives, county officials, material suppliers, and fire-hardening specialists. These events have drawn up to 2,000 attendees, making them one of the largest community rebuild gatherings in the region.
“When we first started, the goal was simple: give fire-affected families a place to meet architects,designers, the SBA, the County, and builders — all in one room, without barriers or confusion. But the Fairs have evolved into something much bigger,” Ly explains. “Our most recent event included: fire-hardening materials; 3D visual walkthroughs of rebuild designs; Vicon exterior fire-sprinkler demonstrations; a full Rebuild Zone where homeowners could see, feel, and compare real materials; windows and doors; tile and flooring options; roofing systems; lighting by Maison Enterprises; and other essential components of a resilient rebuild. It’s become a true one-stop experience where families can get educated, meet their teams, and touch the materials that will become their future homes. For many residents, the Fair is the first moment they feel clarity and hope again.”
The site gets ready for rebuilding. | Photo courtesy of Rebuild Altadena
Starting in the new year, one major Rebuild Altadena Fair every three months is being planned. These quarterly events allow Ly’s team to keep homeowners updated, introduce new technologies, and bring in additional experts as the rebuild landscape evolves.
“Families are still facing very complex concerns in the rebuild process, and these Fairs help address the biggest challenges we hear every day,” states Ly. “These include navigating the County process which is unfamiliar and stressful, especially for families who lost everything overnight. People are overwhelmed by engineering corrections, plan-check timelines, fire-zone requirements, inspections, knowing what to submit and when.”
“Additionally, homeowners are concerned about rising construction costs and insurance gaps,” Ly says further. “Many homeowners worry their insurance payout won’t cover today’s costs. They need guidance on budgeting, materials, and how to avoid unnecessary expenses.”
“Fire-hardening and long-term safety are also major concerns,” declares Ly. “Residents want to rebuild stronger but often don’t know which materials are best, what new codes require, and how exterior fire sprinklers, roofing, windows, doors, and siding work together. This is why we bring FirePoint sheathing, Vicon exterior fire sprinklers, and other fire-resilient products to the Fairs.”
“And then there are temporary housing pressures,” Ly cites. “Families are still paying rent out of pocket. Delays hurt not just emotionally but financially, creating urgency for clear timelines and dependable teams.”
The first fire-resilient rebuild.| Photo courtesy of Rebuild Altadena
“Another worry is knowing who to trust,” says Ly. “After a disaster, homeowners are approached by dozens of contractors and consultants. Many fear choosing the wrong people. Rebuild Altadena was created so residents have vetted, local professionals they can rely on. The quarterly Fairs give families a place to get answers, explore materials in person, meet trustworthy experts, and move forward with confidence.”
Out of roughly 4,500 single-family homes lost in the Eaton Fire, Ly estimates that about 60% to 70% of residents intend to rebuild, though everyone is moving at a different pace depending on insurance, finances, and the County process.
“Most families are still in the design, engineering, or plan-check stages, working through approvals and corrections,” Ly says. “A smaller number have reached construction. And we’re very proud that one of the very first rebuilds in Altadena is a Rebuild Altadena project. By the one-year anniversary of the fire, that home will be in painting and finishing stages.”
“Not only is it among the first to rise from the fire, it’s also the first home in the entire burn zone to use fire-resilient materials like FirePoint Sheathing, which is designed specifically to withstand extreme heat exposure,” Ly explains. “For many families, that home represents hope — a sign that rebuilding is possible, and that we can do it smarter and more resilient than before.”
Rebuild Altadena is currently supporting more than 30 homes in the design and planning phase, which includes architectural design, engineering, and county plan check.
The first Altadena Rebuild home is expected to be completed around the first anniversary of the Eaton Fire. | Photo courtesy of Rebuild Altadena
“On the construction side, two homes began construction in mid-December,” Ly says further. “We anticipate three additional homes breaking ground in the first half of January, assuming permitting and utility coordination stay on track. Aside from the first home that will be in finishing stages, the timelines for the other rebuilds vary based on lot conditions, design complexity, utilities, and fire-hardening requirements. For most projects, a realistic expectation is 12 to 18 months from permit issuance to completion.”
Ly is also rebuilding. And being one of the first rebuilds in Altadena comes with its own unique set of challenges, one that every family after him will face as well.
“For example, we’re dealing with major utility uncertainties,” Ly explains. “Southern California Edison still hasn’t confirmed whether they’re going overhead or underground with the new electrical system, which affects design, trenching, and timelines.”
“Because of new fire codes, many homes — including mine — now require interior fire sprinklers,” cites Ly. “That means a lot of families must upgrade their water meters, and one of our clients was quoted an astronomical price by the water company just to make that change. These are things no homeowner planned for.”
“And that’s why Rebuild Altadena has taken on a strong advocacy role,” Ly declares. “We’ve already helped the community win important battles: eliminating unfair fire hydrant flow test fees for each individual home; challenging cross-lot drainage requirements that didn’t make sense for wildfire survivors; pushing back on County fees and conditions that were originally designed for single new homes being built in an established neighborhood — not for a town where thousands of homes burned overnight.”
“We didn’t ask for this disaster,” asserts Ly. “We lost our homes, our stability, and in many ways our sense of place in a single night. Families should not be burdened with excessive fees and code upgrade costs that were never intended for a mass-rebuild situation. So yes, I’m rebuilding — but I’m also fighting every day for the families behind me, making sure the path gets a little clearer and a little fairer for all of us.”
Rendering of a future rebuild. | Photo courtesy of Rebuild Altadena
“Altadena is in a complicated place right now,” Ly says further. “There’s a mix of grief, frustration, determination, and hope all happening at once. Physically, many lots are still empty, and that can make it feel like time has stood still. Simultaneously, there’s real movement happening — plans being approved, foundations going in, and the first homes starting to rise. Progress is uneven, but it’s real.”
“Emotionally, people are tired,” laments Ly. “Many families are still displaced, paying rent, navigating insurance, and waiting on approvals. There’s frustration with the pace of utilities and permitting, and uncertainty about what comes next. But there’s also a strong sense of resolve. Neighbors are more connected than they were before the fire. People are sharing information, showing up for one another, and pushing for fair treatment together. You see it at community meetings, at the Rebuild Altadena Fairs, and even just on the street.”
An article in the Los Angeles Times in November 2025 featured the first house that was rebuilt after the Palisades Fire. The developer-owned showcase home, which was constructed within six months, was an advertisement of sorts for Thomas James Homes. The company has a library of home plans available for faster rebuilds and claims a rebuild typically takes 12 months.
Asked if this can be done in Altadena, Ly replies, “I saw that article, and it’s an impressive accomplishment. But comparing the Palisades rebuild to Altadena isn’t exactly apples to apples. In the Palisades example, the contractor rebuilt his own model home — a single property, on a standardized lot, with no insurance complications, and no displaced family depending on it. That allowed him to fast-track the process and present a ‘template’ home.”
The Rebuild Altadena office on Marengo Avenue in Pasadena. | Photo courtesy of Rebuild Alatdena
“But Altadena is different,” expounds Ly. “We pride ourselves on our diversity — our lots, our architecture, and our neighborhoods are not cookie-cutter. Many of us don’t want pre-designed, identical boxes placed across the community. People want to rebuild homes that reflect who they are, not a one-size-fits-all model. And with that individuality comes complexity: unique slopes and topography; older utility systems; unanswered questions from SCE about overhead vs. underground power; interior sprinkler requirements that force water meter upgrades; soils, drainage, and grading challenges; insurance delays; and County processes that were never designed to handle over 4,500 rebuilds at once.”
“So while it’s inspiring to see a house rebuilt in six months, making that promise in Altadena would be unrealistic — even irresponsible,” Ly continues. “False promises give families hope in the short term, but they cause real pain when they fall apart. What we are focused on is speed with integrity — rebuilding smarter, stronger, and with fire-resilient materials. Our goal is to eventually streamline to a point where 12-month rebuilds become achievable.”
What would success look like and what accomplishments does Ly envision for Rebuild Altadena?
“Success for Rebuild Altadena isn’t measured by how fast we rebuild homes,” states Ly. “It’s measured by whether families feel supported, empowered, and protected throughout one of the hardest experiences of their lives. Success is thousands of families back home, living in a safer, stronger, more unified Altadena. That’s what we’re fighting for every day.”
Very soon now, a Rebuild Altadena house will be completed. It will most probably be celebrated not only by the family that moves in, but by the thousands of other families who are still displaced. Each house that rises from the ashes of the Eaton Fire provides them with a glimmer of certainty that one day in the not-too-distant future they will be back — exhausted by the ordeal they’ve been through, but very happy to return to the town they call home.
