If you lived in Los Angeles on April 29, 1992, you remember where you were when the city began to burn.

I’d just turned 18 and was two months from graduating from Los Angeles High School. I grew up in Koreatown, the biracial son of two public school teachers living in a multiracial, middle-class neighborhood in the center of the city. I saw Los Angeles as a city of diverse voices telling their own personal, yet interconnecting stories in a beautiful multitude of languages. And because of my involvement in L.A. Youth, a nonprofit youth newspaper founded in 1988, I knew that it was important that my classmates and I share our voices.


On the day of the verdict acquitting LAPD officers of beating Rodney King, I was leaving campus early to take the bus to UCLA where I was taking a class. I will never forget the voice of the teacher who told me what had happened: “They found them not guilty, Jason. NOT. GUILTY. Now tell me that there’s justice in this world.”

I watched righteous anger turn into fires, violence, and looting. There was no school the next day and the National Guard soon turned L.A. High’s blacktop into a staging area. Since I was also editor-in-chief of the high school paper, I talked my dad into driving me around over the next couple days so I could take photos of destroyed businesses in Koreatown, the Humvees on my campus—and eventually, of people coming together to sweep and clean the streets and sidewalks.

And, with the fires still smoldering, L.A. Youth put together a special issue. We called it “Rebuilding the Dream” and devoted it to asking questions about how we’d gotten to where we were, and where we needed to go next. We student writers knew this was our city, even if the mainstream media never showed youth who looked like us unless the story was negative. These were our communities, our realities. And the future was ours to build. We couldn’t do it alone, but we weren’t going to sit back and be silent either.

That fall I headed off to college in New England—3,000 miles and a world away from Los Angeles. But what those few days in the spring of 1992 and my experiences with L.A. Youth taught me about the intersection of race, class, history, identity, and community, and the importance of voice and stories became the focus of my life.

I always imagined that I would return to Los Angeles—the city was part of me, was me—but now I live 100 miles away in central California. My parents still live in the city, though, so I visit frequently, and I am connected to it when my Facebook feed fills with news. Now, on the anniversary of the riots, the question on everyone’s mind is, Could the riots happen again?

Some things haven’t changed in Los Angeles. Friends share stories—like the recent shooting of an unarmed black male youth by police in suburban Pasadena—that are reminiscent of what happened to Rodney King. Then there are the stories about the injustices perpetrated against students and teachers in overburdened public schools, and tales of the insidious intersection of racism, classism, and city politics.

But wait. Counterbalancing those stories are other stories of hope. Two decades after L.A. Youth tried to make sure that diverse young people’s voices were heard in the aftermath of the riots, its handful of adult staffers is still helping young Angelenos tell their stories.

The stories L.A. Youth’s 80 current student journalists are producing, like surveying 1,850 Los Angeles County high school students on how education budget cuts are affecting them, expose the truth about what’s happening in Los Angeles today in a way that wasn’t possible 20 years ago. The spotlight the paper recently shone on the disproportionate truancy ticketing of students of color in lower income neighborhoods by the police helped bring about an end to the practice. Through their stories—and the way they travel on social media platforms—today’s student writers are speaking truth to power and fighting for their peers, for their communities, local organizations, and for themselves.

I know how important that is, as do the several thousand students whose words have been printed on its pages in the almost quarter-century L.A. Youth has been in existence. But L.A. Youth—like many nonprofit organizations fighting the good fight in a climate where fewer and fewer resources are devoted to more and more problems—is in financial trouble. The paper needs to quickly raise hundreds of thousands of dollars to keep operating. If it doesn’t, the student voices and stories that need to be told may be silenced. Silenced frustration can bubble over and turn into the kind of rage we saw burning through Los Angeles 20 years ago.

We can’t let that happen. For many young Angelenos, the dream remains deferred and half-built. People, young—and not-so-young anymore, like me—still have work to do. Let’s give our support to L.A Youth and make sure they can tell the story of how young people in this city are making the dream a reality. To donate to L.A. Youth, click here.

  • Motorcyclist trapped under a 3,300 pound car saved by Australian car salesmen
    Photo credit: @ACurrentAffair9 on YouTubeA man was saved from being crushed under a car.

    Tyler Wiebe was on his way to work on his motorcycle in Brisbane, Australia. Then a car approached in the wrong way in traffic, colliding with another car that then hit Wiebe. The accident threw Wiebe off his bike and under a car. He was trapped under the 3,300-lb. vehicle, doomed until a group of salesmen and onlookers came to his rescue.

    “I was being dragged and when it stopped, my head and chest were under the car,” Wiebe said to the Australian Broadcasting Corporation. The crash and being pinned down under the vehicle gave Wiebe several injuries. He suffered broken ribs, a broken collarbone, and a collapsed lung.

    But that would be diagnosed later. At the time, the car’s weight was crushing Wiebe to the point that he couldn’t breathe. His heart was also unable to beat, the pressure causing his eyes, mouth, and nose to bleed.

    “Initially it was ‘can I get out?’ and then it was ‘man I am dying, this is it,’” recalled Wiebe. “[My] wife and two kids are not here, and this is it.”

    Hope comes in the form of a car salesman

    After being stuck for two minutes under the car, help arrived from the nearby Auto Request Kedron, a used car dealership.

    “I was in the office at the time, so I heard the bang [and] came running to the doors,” Mick, one of the employees, said to A Current Affair.

    “I realized there was someone trapped under the car,” fellow employee Rob added.

    They rushed into action, recruiting other coworkers to help.

    “[I] saw Rob running and he was just whistling out saying, ‘Hey, boys, hurry up,’ ” Corbin recalled. “I remember seeing him, just like two legs. They weren’t moving at that time.”

    The salesmen tried to lift the vehicle up to get Wiebe to safety, but the car wouldn’t budge.

    “We tried to lift it off. We couldn’t, and then on the second attempt, we had a couple of other good Samaritans come and help us,” said Brian, another employee of Auto Request Kedron.

    Reportedly 15 people were finally able to lift the car and free Wiebe underneath. He was rushed to the hospital where he went under emergency operations. Under hospital care, Wiebe’s condition stabilized and he survived. Had he been under that car any longer, the worst would have happened.

    Wiebe was humbled and grateful to the salesmen and others who stepped up to save him.

    “I get more time with my daughters, I get more time with my family and a second lease on life, so just thank you, thank you,” Wiebe said in his hospital bed.

    Certified legends

    When he was discharged from the hospital, Wiebe set up a reunion with the employees of the used car dealership. He was able to introduce his family to his rescuers and thank them face-to-face. Wiebe presented them with matching t-shirts, each one with a logo reading “Certified Legend” on the front and an illustration of a person lifting a car over their head on the back.

    “You guys are legends, but now you’re certified legends,” Wiebe said to his heroes.

    A father and husband was saved thanks to the alertness and quick action of the nearby community.

  • Texas engineers develop a jacket that pulls fresh drinking water out of thin air
    Photo credit: @fascinatingonX/CanvaWearing this jacket could help keep people hydrated.

    For too many, access to clean drinking water is incredibly difficult. According to the World Health Organization, over two billion people live in water-stressed areas due to pollution, climate change, or population growth. However, engineering experts in Texas have developed a possible solution: just put on a jacket.

    The engineers and researchers gathered at the University of Texas at Austin developed a prototype jacket that can pull drinking water out of thin air. The jacket could help anyone frequently in areas where drinkable water is scarce. This could be used recreationally by campers, hikers, and runners—but it could also save lives. Emergency responders, soldiers, and agricultural workers could also collect water for themselves and others simply by wearing it.

    The technology behind the jacket is similar to the materials used in netting for water harvesting of air and fog. This time, however, the idea is to collect water while also being mobile.

    “Water harvesting from air is usually imagined as a stationary device such as a box, a panel or a large sorbent bed,” said Guihua Yu, chair professor of the Cockrell School of Engineering’s Walker Department of Mechanical Engineering and Texas Materials Institute. “Here, we wanted to rethink the form of the technology. If the fabric itself can collect water from air, it opens a new direction for personal and portable water access.”

    How does this jacket collect water?

    The textile used to create the jacket was derived from a device the same team created. That device was a specially engineered hydrogel fabric made from biomass-derived materials. This hydrogel fabric takes moisture from the air and then releases it as water via condensation when it’s heated by sunlight. The water can easily be collected.

    The jacket’s textile collects moisture from the air and funnels it into detachable harvesting units. The units can be placed into a foldable collector piece where they are heated to produce water. The material and system doesn’t just absorb water like other materials. Instead, it actively converts vapor into water while functioning as a piece of protective clothing.

    The jacket is able to produce between 400 to 900 milliliters of drinkable water daily. This is a vast improvement upon other similar inventions that yielded less water and were significantly bulkier to wear. The jacket’s material could collect and produce more water over time and testing, depending on the humidity of the terrain.

    Aside from creating clothing out of the material, the researchers hope to make backpacks, tents, emergency shelters, and other outdoor gear from it. The hope is that this could create more clean water access for disaster response units and everyday people living in water-stressed areas alike.

    How much hydration do you need in the heat?

    Until water-collecting jackets are commercially available, it’s important to have drinkable water nearby at all times, especially during the summer. When out in the heat, the Center for Disease Control recommends having a drink of water before working outdoors. Then drink a cup of water every 15 to 20 minutes. This can help keep your body cool and hydrated to prevent heat stroke. That said, stay alert and stay indoors if there is a heat warning in your area.

  • Why Gen Z is falling in love with film photography
    Photo credit: Yasin Akgul/AFP via Getty ImagesChildren look at developed film in a darkroom during an analog photography workshop held in southeastern Turkey on June 14, 2026.
    ,

    Why Gen Z is falling in love with film photography

    Analog cameras offer a slower, social antidote to digital life.

    Film photography is experiencing a resurrection, summoned by unlikely conjurers: Gen Z.

    It wasn’t too long ago that analog photography – which uses photographic film and chemical processing – was declared all but dead, relegated to the province of niche hobbyists and professional artists.

    Digital cameras had taken over nearly all areas of photographic production. Film industry titans like Polaroid and Kodak had shrunk dramatically from their heyday, becoming shells of their former selves. Darkrooms, where students learned how to manually develop and print film, shuttered at high schools and college campuses across the country, replaced by digital labs. For most people, the spirit of analog photography was mainly channeled through Instagram filters.

    But within the past five years, younger people have been increasingly drawn to the old way of doing photography.

    In 2025, 35% of the 42 million active film camera users worldwide were reported to be between the ages of 18 and 30. The year prior, online searches for analog photography saw a 41% rise.

    Disposable camera sales have been steadily increasing since 2023. The photography journal PetaPixel went a step further and announced 2024 as “film’s best year in decades,” as major brands have introduced new cameras in response to renewed demand and revived classic modelsMore than 30% of respondents to a 2024 Ilford Photo survey on film photography were in the 25-34 age group.

    As I’ve witnessed more and more of my undergraduate art and design students embrace analog photography, I’m not seeing this as a trend rooted in a nostalgic yearning for the past. Instead, I’m seeing it as young people rejecting algorithms, breaking free from the alienation of social media and reacting to childhoods spent on Zoom and TikTok – a deliberate move to redefine the future of art, social connection and engagement with the world.

    Pining for a ‘third place’

    In my work as a historian of photography and lecturer at the University of Southern California, I’ll often ask my students about how they take photos – whether they’re using digital cameras their smartphones or analog devices.

    This year, for the first time, some of my students discussed images they’d printed and the physical photography albums they’d put together of their friends and family. They talked about how they’d also been sending postcards, writing letters and tacking photographs to their bedroom walls.

    Young Black man wearing a black hat and black sweatshirt holds a small camera up to his eyes to snap a photograph.
    New York Knicks forward OG Anunoby snaps a photo with a disposable film camera during the team’s victory rally on June 18, 2026, after winning the NBA Finals. Craig T. Fruchtman/Getty Images

    I couldn’t help but think about how so much of the language tied to early social media seemed to refashion physical gestures for a virtual world – “posting” on a “wall,” “poking,” “tagging” and “bookmarking,” not to mention “friending.”

    This was a rhetorical move by social media companies, likely designed to help people feel as though they were in a familiar terrain of social connection. Yet the underlying business model of these platforms depended more on maximizing engagement and advertising revenue than on nurturing authentic relationships.

    Everyone knows what happened next: The more connected young people became online, the more isolated and detached they started to feel. The COVID-19 lockdown pushed social life online even further, and researchers are only now starting to see how the combination of increased screen time and isolation negatively affected adolescents’ mental health. By 2023, 51% of American teenagers reported they spend at least four hours a day on social media.

    I see the attraction of analog photography as a response to life lived through screens, a pathway toward community engagement and the desire for what sociologists call “a third place.”

    Coined by sociologist Ray Oldenburg in his 1989 book “The Great Good Place,” third places are meant as a space separate from home and work. They offer a reprieve for the in-between, generating the conditions needed for creative cross-pollination. They might include a local cafe, a neighborhood writing group, a weekly Magic: The Gathering game or a college fraternity – any space that allows for social interaction and personal growth.

    These spaces also combat loneliness. They get people out of their heads and into a community. Oldenburg also referred to them as “havens of sociability,” places or gatherings where people can arrive alone to join others, and the atmosphere is “democratic and festive.”

    Analog communities IRL

    In April 2026, the inaugural AnalogCon took place in Los Angeles. Organized by the Los Angeles Center of Photography, where I serve as executive director and chief curator, it was a festival for all things analog photography. It didn’t just serve as a third place for photography enthusiasts; it also showed how analog photography – as a practice, ritual and community – is flourishing.

    Vendors, industry leaders, artists and teachers participated in the two-day event, which included exhibitions, panels, demonstrations and guided photography tours around Little Tokyo. The excitement and thirst for similar events was palpable.

    Photography now joins a broader trend of a generational preoccupation with physical cultural objects and media. Although music streaming represents 82% of revenues generated in the music industry, vinyl records sales have been rising for over a decade, crossing the US$1 billion threshold in the U.S. in 2025.

    A table featuring an array of camera equipment spanning different eras, with hands holding some of the objects.
    Customers peruse vintage film cameras at a stall on Brick Lane in London’s East End on June 14, 2026. Richard Baker/In Pictures via Getty Images

    Nearly 60% of Gen Z are now purchasing records. VHS tapes and VCR players are also making a strange comeback, with stores like Be Kind Video and Videotheque in California offering VHS, DVDs and Blu-ray rentals.

    But beyond that, record stores and video rental shops have become third places in their own right. There’s a big difference between selecting a film to stream from your bed and getting out of the house, going to a store and talking about movies with a clerk and fellow film enthusiasts.

    Think about the sound a tape cassette makes when you open and close it, or the vibrant graphics on the covers of DVDs or VHS tapes. Think about rewinding or making a mixtape for your recent crush. These are objects of belonging that signal specific cultural moments, rituals and aesthetics, and many young people today are starting to experience them for the first time.

    Now, think about gently inserting a roll of film into a camera. Think about choosing an angle carefully when snapping a photo, because the number of frames is limited and you want to make them count. Think about the thrill of discovery when the pictures finally emerge as objects on paper.

    To me, these are more than fleeting trends. They signal a push against a digital culture that is designed to cultivate envy and reward outrage, insults and humiliation.

    Instead, armed with rolls of film, more and more Gen Zers appear to be opting out of their algorithmic feeds in favor of experiencing life in ways that feel more deliberate, personal and tangible.

    This article originally appeared on The Conversation. You can read it here.

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