Science
There were 13 full-service public health clinics in L.A. County. Now there are 6
Because of budget cuts, the Los Angeles County Department of Public Health has ended clinical services at seven of its public health clinic sites.
As of Feb. 27, the county is no longer providing services such as vaccinations, sexually transmitted infection testing and treatment, or tuberculosis diagnosis and specialty TB care at the affected locations, according to county officials and a department fact sheet.
The sites losing clinical services are Antelope Valley in Lancaster; the Center for Community Health (Leavy) in San Pedro, Curtis R. Tucker in Inglewood, Hollywood-Wilshire, Pomona, Dr. Ruth Temple in South Los Angeles, and Torrance. Services will continue to be provided by the six remaining public health clinics, and through nearby community clinics.
The changes are the result of about $50 million in funding losses, according to official county statements.
“That pushed us to make the very difficult decision to end clinical services at seven of our sites,” said Dr. Anish Mahajan, chief deputy director of the L.A. County Department of Public Health.
Mahajan said the department selected clinics with relatively lower patient volumes. Over the last month, he said, the department has sent letters to patients about the changes, and referred them to unaffected county clinics, nearby federally qualified health centers or other community providers. According to Mahajan, for tuberculosis patients, particularly those requiring directly observed therapy, public health nurses will continue visiting patients.
Public health clinics form part of the county’s healthcare safety net, serving low-income residents and those with limited access to care. Officials said that about half of the patients the county currently sees across its clinics are uninsured.
Mahajan noted that the clinics were established decades ago, before the Affordable Care Act expanded Medi-Cal coverage and increased the number of federally qualified health centers. He said that as more residents gained access to primary care, utilization at some county-run clinics declined.
“Now that we have a more sophisticated safety net, people often have another place to go for their full range of care,” he said.
Still, the closures have unsettled providers who work closely with local vulnerable populations.
“I hate to see any services that serve our at-risk and homeless community shut down,” said Mark Hood, chief executive of Union Rescue Mission in downtown Los Angeles. “There’s so much need out there, so it always is going to create hardship for the people that actually need the help the most.”
Union Rescue Mission does not receive government funding for its healthcare services, Hood said. The mission’s clinics are open not only to shelter guests, up to 1,000 people nightly, but also to people living on the streets who walk in seeking care.
Its dental clinic alone sees nearly 9,000 patients a year, Hood said.
“We haven’t seen it yet, but I expect in the coming days and weeks we’ll see more people coming through our doors looking for help,” he said. “They’re going to have to find help somewhere.” Hood said women experiencing homelessness are especially vulnerable when preventive care, including sexual and reproductive health services, becomes harder to access.
County officials said staffing impacts so far have been managed through reassignment rather than layoffs. Roughly 200 to 300 positions across the department have been eliminated amid funding cuts, officials said, though many were vacant. About 120 employees whose positions were affected have been reassigned; according to Mahajan, no one has been laid off.
The clinic closures come amid broader fiscal uncertainty. Mahajan said that due to the Trump administration’s “Big Beautiful Bill,” Los Angeles County could lose $2.4 billion over the next several years. That funding, he said, supports clinics, hospitals and community clinic partners now absorbing patients who previously went to the clinics that closed on Feb. 27.
In response, the L.A. County Board of Supervisors has backed a proposed half-cent sales tax measure that would generate hundreds of millions of dollars annually for healthcare and public health services. Voters are expected to consider the measure in June.
Science
Her Self-Experiment with Drug Detox Almost Broke Her
A 27-year-old woman began an experiment on herself early one morning in December 2024. Her laboratory was her childhood bedroom, tucked into a second-floor corner of a pale yellow house in the Boston suburbs. On a bookshelf behind her sat a small stuffed sloth and some favorite books, including “Siddhartha” by Hermann Hesse. Her parents were asleep in the room next door.
Her name is Rebecca, but she goes by Becks. Sitting at her desk in a gray T-shirt, she opened a small plastic bag filled with white powder. The bag was stamped “SR-17018,” and “NOT FOR HUMAN CONSUMPTION.”
She extracted some powder with a red microscooper, poured it onto a digital scale and carefully weighed out 25 milligrams. She gathered this into a blue and white pill capsule and sealed it, and then swallowed the capsule with water. It was 4:27 a.m.
“It’s my turn to be a guinea pig,” Becks wrote in the online diary she was keeping of her experience. In sharing her story with The New York Times, she asked that her last name not be used so potential employers don’t discover her drug history.
Becks had joined the vanguard of a dangerous, highly speculative do-it-yourself approach to getting sober. For a decade, on and off, she had been addicted to various drugs, most recently kratom, an opiate-like substance, which cleared her head and covered up her pain but required constant dosing. She feared the call of fentanyl, which she’d tried a few times.
“Every morning, I woke drenched in sweat from overnight withdrawals. It was a grim existence,” she wrote of her kratom use. She tried various methods to get sober, including three short inpatient detox stays and one monthlong rehabilitation treatment. She had periods of sobriety but couldn’t sustain it.
Then she heard about SR-17018, one of many new and unpredictable synthetic drugs made largely in China and sold online even though it is not approved or shown to be safe, and can pose lethal risks.
Most of these compounds, known as novel psychoactive substances, are designed to get people high. Among those substances, SR-17018 stands virtually alone in that people are using it to try to free themselves of addiction, and some claim it helps.
Excitement about SR-17018 grew after Reddit users discovered a 2019 study suggesting it could free drug-addicted mice of their dependence.
Science
RFK Jr. clears path for minors’ use of tanning beds, much to the dismay of dermatologists
Days before the 2024 presidential election, future Health and Human Services Secretary Robert F. Kennedy Jr. posted a statement on X promising to end the U.S. Food and Drug Administration’s “aggressive suppression” of such alternative therapies as raw milk, ivermectin, psychedelics and, somewhat perplexingly, “sunshine.”
While the post did not explain how the FDA was limiting Americans’ access to the sun, many dermatologists were dismayed when Kennedy abruptly withdrew a proposed FDA rule that would have banned minors from using devices that mimic sunlight — indoor tanning lamps.
The rule, which was withdrawn March 16, would have also required indoor tanning facility users to sign a form acknowledging the risk of cancer, early skin aging and other health effects.
Kennedy’s action comes at a time when many adherents of his Make America Healthy Again movement have adopted regular sun exposure as a core principle of wellness, with social media influencers encouraging followers to abandon sunscreen and build up their “solar callus,” or sun tolerance, instead.
The trend has frustrated many dermatologists, who warn that the damage of frequent sunburns and tans accumulates over a lifetime, and those acquired early in life appear to play a disproportionate role in later risk of skin cancer. The Skin Cancer Foundation notes also that you cannot build up a tolerance to sun exposure and “there is no such thing as a ‘solar callus.’”
Dermatologists have long cautioned that indoor tanning lamps are no less dangerous, since they expose users to ultraviolet light at concentrations far above natural sunlight. Like sunlight, the lamps emit two different types of ultraviolet wavelengths: UVA, which are longer and penetrate more deeply into the skin, and UVB, which are shorter and more easily burn the outer layers.
Both light sources darken skin through the same biological process: UV rays change the structure and chemical profile of DNA in the skin, which then produces more melanin in order to prevent further damage.
A tanning bed session exposes users to UVB rays akin to those at noon at the equator — an intense experience, but at least one with a terrestrial equivalent, said Hunter Shain, an associate professor of dermatology at UC San Francisco. The UVA radiation in a tanning bed is roughly 15 times that found anywhere on the surface of the planet.
“They’re really blasting you with these super physiological doses of UV radiation that you couldn’t even find in a natural environment,” he said.
The World Health Organization counts UV-emitting tanning beds as a Group 1 carcinogen, alongside other known human carcinogens like tobacco cigarettes and asbestos. One study Shain co-authored found that tanning beds accelerate DNA mutations in parts of the body not typically exposed to the sun, leading to a nearly threefold increase in indoor tanners’ lifetime melanoma risk. Rates of melanoma diagnoses have increased by 46% in the last decade.
The tanning lamp rule, which was first proposed in 2015, focused on age as a specific risk factor. Tanning bed usage before the age of 35 is associated with a 75% increase in the risk of melanoma, the most serious and frequently fatal form of skin cancer.
The rule drew more than 9,000 public comments from both physicians and cancer research organizations supporting its implementation and from tanning bed industry representatives and business owners opposed.
Kennedy, who was photographed leaving a Washington tanning salon last year, was ultimately unconvinced of the need to ban minors from such establishments.
“In light of the scientific and technical concerns raised in the comments on the Proposed Rule, concerns regarding possible unintended consequences of certain proposals in the Proposed Rule, and potential alternatives proposed in comments received on the Proposed Rule, FDA is withdrawing the Proposed Rule in order to reconsider the best means for addressing the issues,” Kennedy wrote in the withdrawal letter.
Health and Human Services did not respond to questions about what scientific concerns and unintended consequences Kennedy was referring to.
Nineteen states (including California) and the District of Columbia have already banned people under 18 from indoor tanning salons. Roughly two dozen more have some kind of regulations regarding minors and indoor tanning, such as requiring parental permission or barring only younger children.
The collapse of the proposed federal ban has left many dermatologists disappointed.
“As you can see, when it’s left to the states, the implementation and the guardrails to minimize the exposure to carcinogens are not consistent. … Why are you going to default to a system that we know isn’t working correctly?” said Dr. Clara Curiel-Lewandrowski, chair of dermatology and co-director of the Skin Cancer Institute at the University of Arizona.
Minors in sun-baked Arizona are free to patronize indoor tanning establishments as long as they have a note from their parents. Curiel-Lewandrowski has treated many former sunbed enthusiasts for advanced melanoma in their 20s and 30s, she said.
“There’s a lot of regret. Regret for not knowing more, for not getting more help to understand the threat,” she said. “This is an age group that has a very hard time assessing risk. At that age, they don’t view carcinogens as a real threat.”
The U.S. is a bit of an outlier in its permissive approach to youth indoor tanning. Australia and Brazil have banned cosmetic indoor tanning entirely for people of all ages. Most western European countries ban minors from indoor tanning, as do most Canadian provinces.
“After the proposal lay dormant for more than a decade, I can’t say I was surprised to hear that the FDA withdrew it,” said Dr. Deborah S. Sarnoff, president of the Skin Cancer Foundation. “On the positive side, we made the public very aware of this issue, and this fight is far from over. We won’t be satisfied until tanning beds are banned in this country.”
Science
In Venice, an Ocean-Inspired Exhibition Takes Visitors Under the Sea
Over the next month, if you take a ferry from the center of Venice to the island of Giudecca and walk into a former 15th-century convent, you will find yourself figuratively plunging underwater.
The haunting songs of humpback whales will flow around you. A fish will sing its evensong from the sea grass meadows of the Mediterranean. Boats recorded from beneath the surface of the Venetian lagoon will buzz like insects. A galaxy of bioluminescent plankton will glimmer in the sloshing waves.
This audiovisual symphony is part of “As Above, So Below,” a collateral exhibit running during the first month of the Venice Biennale, from Saturday through June 8. The exhibition brings together works by seven artists and art collectives who combine cutting-edge science and technology with traditional methods. Their installations surround visitors with natural sounds, merge their perspectives with those of other species and take them on an immersive journey into the sea, the soil and even a tree to highlight humans’ interdependence with the natural world.
As Elizabeth Zhivkova, a co-curator of the exhibition, put it: “‘As Above, So Below’ emerged from a shared urgency to rethink our relationship with nature, not as something separate from us, but as an interconnected system in which human, ecological and cosmic rhythms reflect one another.”
In addition to the exhibition, “As Above, So Below” is an ongoing research project that includes artist residencies and a podcast featuring conversations with artists and ocean advocates.
The project was born out of a partnership between Zeitgeist19, an environmental curatorial collective founded by Zhivkova and the show’s other co-curator, Farah Piriye Coene, and One Ocean Foundation, a scientific conservation organization based in Milan.
The name, “As Above, So Below,” comes from the Principle of Correspondence in Hermeticism, a spiritual tradition that blends Greek and Egyptian philosophies. It serves as a reminder that everything is connected. “The sea, the soil, the atmosphere, the human body are not separate realms; they are part of one relational field,” Coene said. “The exhibition asks whether art can help us feel that relation again.”
The exhibition’s setting in the former convent and church of Santi Cosma e Damiano — now a science and art innovation hub — fosters a contemplative atmosphere. In lieu of a central altarpiece, visitors encounter an immersive installation from the London-based artist collective Marshmallow Laser Feast, titled “Seeing Echoes in the Mind of the Whale.” In the work, a large-screen video immerses viewers in the sensory perspectives of a bottlenose dolphin, a humpback whale and a sperm whale as they dive and resurface to breathe.
The video plays recordings of dolphins’ trilling whistles, humpbacks’ meditative melodies and sperm whales’ Morse code-like clicks, which resonate throughout the space. To illustrate the use of echolocation to “see” through sound, these vocalizations are coordinated with visual effects. Shimmering swirls and pulsating pixels surround you, giving a sense of what bottlenose dolphins might “see” as they sweep sonar beams across colorful coral reefs, or what sperm whales might sense by blasting clicks to spy giant squid in the dark depths.
Ersin Han Ersin, one of the Marshmallow Laser Feast artists, explained in a video interview that the aim was for audiences to “disembody their own body, and momentarily embody what it is like to be a bottlenose dolphin or a whale.”
While visually speculative, the video is rooted in research. The members of the collective pored over scientific papers, compiled extensive hydrophone recordings and underwater videography, and collaborated with marine biologists and bioacousticians to dive into the sensory experiences of whales and dolphins, Ersin said.
In the process, he said, the artists became more sensitive to the ways noise pollution — the squeals of military sonar, the drumming of shipping traffic and the boom of seismic blasting to find fossil fuels — may be turning the ocean into an acoustic dystopia for animals and plants that live underwater.
“One part of me wants to scream that we are ruining these oceans, but the other part of me knows the best action is always cultivated from a place of love,” Ersin said. That is one goal of the installation, he added: To “make people fall in love with species that they never thought they can relate to.”
In another installation, “Fish String Theory,” Antoine Bertin, an artist who splits his time between Paris and Alicudi island, Italy, amplifies the surprisingly talkative world of fish. Bertin was inspired by reports of a “kwa” sound emanating from Mediterranean seagrass meadows. Scientists found that the kwa chorus most likely comes from scorpionfish. These venomous creatures have a muscular apparatus that functions like an internal violin.
Bertin made underwater recordings of scorpionfish and created fish-shaped sculptures with strings. When his recordings of scorpionfish play, the frequencies from the recordings activate electromagnets that vibrate the strings on the fish sculptures, creating a sound similar to a guitar or harp. The installation also includes Bertin’s underwater recordings of the Venetian lagoon, forming a dialogue between the scorpionfish song and the city’s aquatic soundscape.
Bertin is fascinated by the fact that life emerged in primordial seas, and said in an interview that he hoped that his installation would help people “return to the ocean as listeners.” His aim, he added, was to “create an experience that connects humans and fish in a sort of co-presence, to find out if we can resonate together.”
In “Water Older Than the Sun (Caspian),” the Kazakhstan-born artist Almagul Menlibayeva connects viewers to the Caspian Sea, which is shrinking because of climate change and water diversion — and being contaminated by drilling for oil and gas.
Menlibayeva pointed out that modern societies often see water as a resource to be used. She said in an interview that her installation positions water as an archive of deep time and as a “cosmic, alive entity.” As the title suggests, water is older than the sun because this cosmic compound formed as a result of supernovae explosions, then eventually came to Earth and condensed into oceans that gave rise to life. As such, “water has a memory,” Menlibayeva said, adding: “Water witnessed us as we appeared.”
At the center of Menlibayeva’s installation is a textile made from hand-sewn fabrics and A.I.-generated images of her artwork printed on synthetic silk that depict water, animals and robot-like humans. Fishing nets collected from the Caspian Sea dangle around the textile. Screens placed on the floor like a shoreline show surreal images, such as hands sewing water. Projected behind these pieces is “Requiem for the Caspian” by the London-based filmmaker Suad Gara, a short documentary that reveals the impact of the sea’s collapse on local people.
Just inside the entrance of the church, the Azerbaijan-born artist Elnara Nasirli has turned a reclaimed Italian olive tree into an instrument in “Whispering Forest.” Nasirli translated trees’ bioelectric rhythms into music and vibrations that softly play from contact points triggered by motion detection. Only by touching or hugging the tree, or leaning in very close and listening carefully, can visitors fully hear its whispered song.
Also in the exhibition, artworks bring viewers up close to underground mycelial networks, a holographic jellyfish and bioluminescent plankton that spell out “No blue, no green,” a quote from the marine biologist Sylvia Earle about the vital importance of marine ecosystems.
Altogether, the exhibition invites people to attune to the intelligence and voices of other species and, as Bertin said, to “stretch their sense of self to include the vastness of the ocean.”
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