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Looking for L.A.'s art cool kids? They're hosting exhibits in laundry rooms and garages

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Looking for L.A.'s art cool kids? They're hosting exhibits in laundry rooms and garages

For some Los Angeles galleries, home is where the art is — or it’s in the laundry room, also known as Quarters Gallery, inside Nina Muccia’s two-bedroom Los Feliz duplex. The 32-square-foot space marked its first anniversary in March with a group show, “Hoarders,” of 50-plus works on clothespins, the breaker box and shelves usually reserved for dryer sheets and Tide Pods. At the next exhibit in June, artist Sam Dybeck diffused Fabuloso from a vintage fabric steamer and installed work inside the stacked washer and dryer.

“There are obvious built-in themes and parameters for artists to respond to,” Muccia said of Quarters, its name a sly nod to both coin-operated laundry and the gallery’s quarterly schedule. Exhibits, usually advertised on Instagram, typically last one weekend since she shares the unit with a roommate who, at one opening, was visibly annoyed while wearing a robe and stomping through the party in a huff with her hamper. “A performance piece, of course,” Muccia said of her actor roomie.

Quarters, an unassuming hidden art gallery housed within a laundry room in Nina Muccia’s home in Los Feliz.

(Wally Skalij / Los Angeles Times)

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Quarters belongs to a new guard experimenting in the L.A. art scene by bringing exhibits in-house. Residences range from a Tudor mansion and a chateau-esque apartment to a five-car garage and a backyard cabin modeled after the Unabomber’s hideout. They’re a new spin on a nearly century-long L.A. tradition of domestic galleries that rely on word-of-mouth, neighborly trust and consummate hosts.

“When you have these residential spaces, a lot of times it’s because you want to keep the concept high and rents low,” said Danny Bowman, who started his gallery, Bozo Mag, in the revamped garage behind his rented Highland Park house. Openings tend to spill out into the patio or the emptied pool. “Instead of coming for 20 minutes, they stay for three hours,” he said.

“The Weight, the Wait,” an oil on canvas by artist Molly Bounds, is part of the “Nouveau Bozeaux” exhibit at Bozo Mag.

(Mel Melcon / Los Angeles Times)

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The emptied pool outside of Danny Bowman’s garage-turned-art gallery at his Highland home.

(Mel Melcon / Los Angeles Times)

High rents and the pandemic were an unexpected boon to the city’s DIY art and literary scene — from roguish takeovers at IKEA to guerrilla readings in parking lots — meshing cultural events that fall somewhere between a kegger and a 21st century salon. Angelenos in the art industry have been a sort of anchor to it all, with a new school intersecting the Venn diagram of curators and patrons, artist-run commercial spaces and art-fair cool kids. Residential galleries also are defined by what they’re not: design showrooms, permanent exhibits, private collections or endowed artist shrines. Still, they’re hard to track — either because they pop up like Whac-a-Mole or remain underground for practical reasons.

Like most residential projects today, Sea View Gallery “takes its appointment system pretty seriously,” said founder Sara Lee Hantman, treating its corner of the Mt. Washington hilltop “as something sacred.” Luckily the street is an artists’ enclave, with some opening their homes for Hantman’s dinner receptions — one in January served gumbo family-style two doors down at a local artist’s Midcentury Modern house. “So much business can be done in these types of spaces without the feeling of business being done,” she said.

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It also helps that the house structure itself is a talking point. In the late ’90s, L.A. artist Jorge Pardo got MOCA to help fund his “social sculpture” on Sea View Avenue as an off-site exhibition that became the artist’s home studio. Spatial restrictions notwithstanding, “Pardo designed the space to not have any 90-degree angles,” said Hantman, who leases from the artist’s family month-to-month.

In L.A., where most residences are zoned “single family,” home-based businesses like these technically have a limit on visitors (one per hour) and operating hours (8 a.m. to 8 p.m.). “It’s a decidedly gray area in terms of zoning,” said Sam Parker on his namesake gallery in a rented five-bedroom Storybook home in Los Feliz. Since 2017, Parker’s openings have posed a parking dilemma for his neighbors on the winding hillside. “There comes a very real anxiety with how long we can we keep this up and get away with this until it’s a larger problem,” Parker said.

A fig vine grows around a side entrance to Bozo Mag. (Mel Melcon / Los Angeles Times)

The entrance to art gallery the Bunker, located on the grounds of Danny First’s home in Los Angeles. (Mel Melcon / Los Angeles Times)

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Danny First, with his dog Diego, a 3-year-old Mexican hairless, stands next to his other art gallery, the Cabin L.A., on the grounds of his home in Los Angeles. In the background is a painting titled “Dressage,” an acrylic on canvas by artist Nick Modrzewski that is part of the current exhibition, “Modern Handshake,” running through March 31.

(Mel Melcon / Los Angeles Times)

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His house’s domestic routine has changed too, to include his wife and 2-year-old son. (“He knows what not to touch,” Parker said.) In a bid for more legitimacy in the art world, Parker is trading the next-door model for foot traffic and will move the gallery to a storefront at 6700 Melrose Ave. in Hancock Park later this year. “First and foremost, we’re in service to our artists who are ready to have a more public-facing gallery,” he said.

The concept of the domestic museum in L.A. began at the 1920s home of voracious art collectors Louise and Walter Arensberg, according to Mark Nelson, who co-authored “Hollywood Arensberg: Avant-Garde Collecting in Midcentury L.A.” The Arensbergs kept an open-door policy for artists and art lovers to bask in nearly 1,000 works from pre-Columbian objects and Modern artists like Henri Matisse, Pablo Picasso, Salvador Dalí and their favorite, Marcel Duchamp. “Even the bathroom had several Paul Klees hanging from the towel rack,” Nelson said.

Their jam-packed Hollywood home at 7065 Hillside Ave. influenced artist-dealer William Copley and his short-lived but seminal Copley Galleries. For the last four years, Nelson has been rebuilding in his Beverly Hills bungalow Copley’s Surrealist gallery, which ran from 1948 to 1949. “There were probably as many or more Max Ernst paintings shoved into this domestic bungalow than there were in his entire Metropolitan Museum of Art retrospective,” Nelson estimated.

After the Arensbergs died in the 1950s, their art dealer who lived next door, Earl Stendahl, bought the property and opened the third iteration of his gallery that started inside the Ambassador Hotel. Ron Dammann, Stendahl’s grandson, and his wife, April, moved in around 1970 to help continue the business and raise their two kids.

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“There were toddler birthday parties downstairs with all the breakable pre-Colombian art,” April Dammann remembered. “They played pin the tail on the donkey, and one missed dart could cost us $10,000.” In 2017, the Dammanns closed the gallery that had been operating in some capacity since 1921 and moved out of the historic Arensberg-Stendahl Home — complete with a sunroom by Richard Neutra and a carport by John Lautner.

Be it sprawl or architecture, light or climate, L.A. plays a lead role in hosting experimental spaces beyond the white-cube model. These DIY concepts, from pools to the L.A. River, are “crucial to the art scene in Los Angeles” that began in the 1970s, said Christine Messineo, director of Frieze L.A. and Frieze New York. The influx of moneyed and blue-chip galleries over the last decade has the city competing with top art hubs like New York, Berlin and London.

Art on display at Jay Ezra Nayssan’s home in Santa Monica, where an exhibition preview party/dinner for Frieze L.A. was held in 2022. (Jason Armond / Los Angeles Times)

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Art lovers view select art pieces at an exhibition preview party/dinner for Frieze L.A. held in Jay Ezra Nayssan’s Santa Monica home in 2022.

(Jason Armond / Los Angeles Times)

In response, or perhaps opposition, to the gallery boom, curator Jay Ezra Nayssan started Del Vaz Projects out of his West L.A. apartment in 2014. “Everybody eats, everybody drinks, everybody’s invited,” said Nayssan, who now runs Del Vaz as a nonprofit in his Santa Monica home with his partner, Max Goldstein. “We don’t operate in this realm of exclusivity and scarcity, which is inherent in the commercial art world today.”

Joseph Geagan, a painter from the New York and Berlin art worlds, doesn’t think his buzzy penthouse gallery in Koreatown’s landmark Gaylord Apartments would have worked elsewhere. “There’s still a Wild West element for experimentation here,” he said of his “spooky, ‘Shining’-esque” building, which turns 100 this year. It’s a mythos that Geagan didn’t bother competing with; the apartment building and gallery share the same name. (Exhibit spectators usually end up at the HMS Bounty dive bar downstairs after a show.) He’s run Gaylord Apartments since 2021 with his boyfriend, John Tuite, in their living room with glittering views of Koreatown — windows framing the Hollywood sign and Griffith Observatory are in the next room. It’s more a social spot than a moneymaker, and Geagan makes a habit of showing early or midcareer artist friends from outside of L.A., making shipments and travel the bulk of the expenses. “And rent, of course,” he said.

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The lower barrier for entry inspired Harley Wertheimer to open Castle Gallery in his dining room two years ago. He’s since quit his gig as vice president of A&R at Columbia Records and expanded the showroom into an empty unit downstairs, where weekend morning receptions come with a latte cart and bagels in the courtyard. Named for its historic 1920s chateau-esque building, Castle is a treasure box of prewar charm: lattice windows, crown molding, wainscoting, Art Deco tile.

Wertheimer views residential and commercial galleries like the so-called California double — surfing in the ocean and snowboarding in the mountains on the same day — one just as fun (and valid) as the other. Democratizing the business doesn’t have to mean watering it down, and art sold in a home isn’t mere decoration. “There’s definitely a desire from me and my peers to be treated as any other gallery,” he said.

Lifestyle

President Trump to add his own name to the Kennedy Center

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President Trump to add his own name to the Kennedy Center

President Donald Trump stands in the presidential box as he visits the John F. Kennedy Center for the Performing Arts in Washington, D.C, on March 17, 2025.

Jim Watson/AFP via Getty Images


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Jim Watson/AFP via Getty Images

The John F. Kennedy Center for the Performing Arts will now have a new name — the “Trump-Kennedy Center.” White House press secretary Karoline Leavitt announced the news on social media Thursday, saying that the board of the center voted unanimously for the change, “Because of the unbelievable work President Trump has done over the last year in saving the building.”

Shortly after the announcement, Ohio Democrat Rep. Joyce Beatty, an ex-officio member of the board, refuted the claim that it was a unanimous vote. “Each time I tried to speak, I was muted,” she said in a video posted to social media. “Participants were not allowed to voice their concern.”

When asked about the call, Roma Daravi, vice president of public relations at the Kennedy Center, sent a statement reiterating the vote was unanimous: “The new Trump Kennedy Center reflects the unequivocal bipartisan support for America’s cultural center for generations to come.”

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Other Democrats in Congress who are ex-officio members of the Kennedy Center Board, including Sen. Chuck Schumer and Rep. Hakeem Jeffries issued a statement stating that the president is renaming the institution “without legal authority.”

“Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action,” the statement reads.

Earlier this year, Trump installed himself as the chairman of the center, firing former president Deborah Rutter and ousting the previous board chair David Rubenstein, along with board members appointed by President Biden. He then appointed a new board, including second lady Usha Vance, White House Chief of Staff Susie Wiles, Fox News host Laura Ingraham and more.

Trump hinted at the name change earlier this month, when he took questions before becoming the first president to host the Kennedy Center Honors. He deferred to the board when asked directly about changing the name but said “we are saving the Kennedy Center.”

The president was mostly hands off with the Kennedy Center during his first term, as most presidents have been. But he’s taking a special interest in it in his second term, touring the center and promising to weed out programming he doesn’t approve of. His “One Big Beautiful Bill” included $257 million for the building’s repairs and maintenance.

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Originally, it was called The National Cultural Center. In 1964, two months after President Kennedy was assassinated, President Lyndon Johnson signed legislation authorizing funds to build what would become the John F. Kennedy Center for the Performing Arts.

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How one L.A. immigrant’s quest spawned generations of Christmas tree sellers

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How one L.A. immigrant’s quest spawned generations of Christmas tree sellers

It’s mid-November, a full week before Thanksgiving, and the progeny of Francisco Robles, a Mexican immigrant who peddled watermelons in East L.A., have converged in West Covina to commemorate the 76th year of the family’s seasonal business: selling fresh Christmas trees around L.A. from the forests of the Pacific Northwest.

Francisco and his wife, Lucia, left Mexico for a better life in the early 1900s, so it’s hard to imagine what they would make of their thoroughly Americanized descendants today. One of them is looking for a place to plug in her electric car; another is zipping around the large lot on a motorized scooter; and a third is carrying a large, elaborately framed photo of their mother, “the Queen of our hearts,” who died on Mother’s Day, so she can be part of the family photo commemorating the 2025 tree season.

The Robles’ 76-year-old grandson, Louis Jr., is keeping track of today’s Christmas tree delivery from a folding chair, wearing horn-rim glasses, slacks and a white, open-neck dress shirt. But most of his family — his three adult children, their spouses and a few of his grandchildren — are casually dressed in red “Robles Christmas Trees”-themed sweatshirts or holiday leggings, laughing and posing for cellphone photos under a huge red-and-white striped tent in the parking lot of the bustling Plaza West Covina mall.

Louis Robles Jr., 76, right, listens as his children go over an inventory list of Christmas trees delivered to his son Gabriel Robles’ lot at Plaza West Covina on Nov. 19. Gabriel stands at his father’s left, beside his wife Kathy Robles. His sister, Lorraine Robles-Acosta, far left, looks over paperwork about the trees that will next be delivered to her lot in Montebello.

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All the pumpkin patch trimmings from October have been put away — the petting zoo, towering inflatable slides, Cyglos and other rides — and now the family is setting up Christmas decor and stands for the trees that will soon be delivered.

It’s a far cry from the dusty streets where Francisco Robles sold his watermelons from a truck more than a century ago. By the end of this day, the massive 53-foot-truck will have delivered its icy bundles of Nordmann, noble and silvertip firs — what Louis Jr. calls “the Cadillac of Christmas trees” — to all three of their lots in Eagle Rock, Plaza West Covina and the Montebello mall.

The Robles family is eager to get the Christmas tree lots going. Sales were slower than usual at their pumpkin patches this year, a slump they blame on Immigration and Customs Enforcement raid concerns among their large Latino customer base.

Antonio Villatoro, left, closes a hatch after moving trees.

Antonio Villatoro, left, closes a hatch after moving trees, while Javier Vasquez, looks on at Robles Christmas Trees run by Gabriel Robles at Plaza West Covina.

A display wall at Robles Christmas Trees features a painting of Santa and a smaller image of the Grinch.

The Robles family adds festive decor and places for photos to their Christmas tree lots such as this wall at Gabriel Robles’ business at Plaza West Covina.

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Members of the Robles family talk carefully about ICE and immigration. They are business people and deeply religious — Louis Jr. is an assistant pastor at the Living Word Apostalic Church in El Monte, where they attended as a family for years — and they want to keep their politics private.

“But we are not fearful,” said Gabriel Robles. “We’ve lived here all our lives, born and raised here, and we’ve been through so much. I believe this ICE issue is another moment in time. It will pass like COVID happened and passed, and we can stand whatever they throw at us. Los Angeles is a melting pot of immigrants. We’re all unified together, no matter who is in office, and you can’t get rid of us. We are the fabric of L.A.”

Getting the family together in mid-November is unusual because, from October through December, the Robleses are juggling the family business with their other jobs: Gabriel Robles, operator of the Robles Pumpkin Festival and Christmas Trees in West Covina, is an insurance broker; his wife, Kathy, is a homemaker who manages their books. Gabriel’s older sister, Lisa Nassar, operator of Cougar Mountain Pumpkin and Christmas Trees in Eagle Rock, does security screenings at Disneyland (“I keep Tinker Bell safe,” she says, laughing). Her husband, Sam Nassar, is a counselor at Mt. San Antonio College. Lorraine Robles-Acosta is a massage therapist who does lots of work for her church; her husband, Joseph Acosta, is a drug and alcohol counselor. Together, they run the Robles Pumpkin Patch and Christmas Tree Farm in Montebello.

It’s a grueling schedule, but they cling to Louis Jr.’s motto — “We’ll sleep in January” — because this business is in their blood. Not all of the younger generation of Robleses is as gung-ho about the family business as their parents are. But Gabriel and Kathy’s sons, Roman, 21, and Mason, 19, are already devising plans to improve the family’s presence on social media, and the couple’s art-loving daughter Loren, 15, set up the acrylic paints for pumpkin painting.

A family holding a portrait of a woman.

The Robles family’s late matriarch, Madalene Robles, smiles from a portrait held by her husband, Louis Jr., so she can be part of the family photos commemorating the start of the 2025 Christmas tree season on Nov. 19 at their son, Gabriel Robles’ lot in West Covina. Madalene Robles died on her birthday, May 11, which also happened to be Mother’s Day, her favorite holiday.

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Louis Jr.’s children, Lisa, Stephen, Gabriel and Lorraine, played among the trees in their father’s tree lots, first in Monrovia in 1973, Louis Jr. says, then in Rosemead and Pico Rivera. Louis Jr. purchased a small trailer with a tiny space heater to sit on the lot so the kids could eat and rest there while he and his wife sold trees.

“That trailer was so cold at night,” said Lisa, shivering with the memory.

In those early years, when Louis Jr. worked all day at a produce warehouse with his dad before spending his evenings at his Christmas tree lot, he and Madalene used the tree money to create magical Christmases for their children.

“I remember waking up to mountains of presents under the Robles’ tree,” Lorraine said dreamily, “and Mom wrapped every single gift.”

When they were older, Lorraine and her siblings helped set up and sell the trees. They’d chase after the few scalawags who tried to steal them, and ultimately they lobbied Louis Jr. to let them have their own lots, which over time expanded from selling a few pumpkins on straw before Halloween to big pumpkin patch extravaganzas with petting zoos, art activities, inflatables and rides. (Stephen, who lives in San Diego, stepped away from the seasonal business.)

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Detail of the deep green, upright needles on a silvertip fir, a specialty of the Robles tree offerings.

The Robles family considers silvertip firs, with their sturdy open branches and graceful form, to be the Cadillac of Christmas trees, said Gabriel Robles. They used to be plentiful, but they’re harder to find these days, he said, because they require altitude and cold to thrive.

Inflatables like bounce houses and giant slides were Gabriel’s innovation, and so popular he insisted on adding them to his Christmas tree lot too. His dad warned against the idea, but Gabriel said he was determined. He set them up at his lot and they did well for a few days. But then it rained, and his father’s logic became apparent. The inflatables never dried, Gabriel said, and the cold and mud made them even less appealing to visitors. “I still have customers to this day who say, ‘Please put the inflatables out again,’ but they don’t understand they take forever to dry.”

The Robles family is dismissive about big-box competitors (“They’ll never replace the tradition and environment you get at our lots,” said Lisa), and they collectively hiss at the mention of artificial trees.

“My dad has been worried that artificial trees get nicer and nicer, but it hasn’t really changed our sales,” Gabriel said. “The No. 1 reason people come to our lots is the fragrance. They want that fresh pine smell throughout their home, and fake sprays don’t cut it.”

Two men surrounded by christmas trees.

Worker Jonathan Tovar, foreground, who helps with general operations, and Roman Robles, 21, background, whose father Gabriel Robles runs the lot, arrange trees while inventory is being unloaded.

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The Robles family hand-select their trees every year from the farms in the Pacific Northwest. (The names of the farms are secret to keep competitors away, Gabriel said.) After the trees are delivered, the family sprays them with water every night and keeps them shaded from the sun so they don’t dry out. “That’s the secret of our success,” Gabriel said.

Louis Jr. said the biggest part of his family’s success has been adding fresh ideas to expand the business that come from each passing generation, starting with his dad, Louis.

Francisco and Lucia Robles and their five L.A.-born children lived on Brooklyn Avenue in East L.A. All three of their sons went to war for the United States, and two never came home, one lost in World War II and the other in the Korean War. Their third son, Louis Robles, served in WWII, right out of high school. He entered the Army’s 101st Airborne Division and earned a Purple Heart as one of the paratroopers who, at age 20, dropped into German-occupied France on D-day, June 6, 1944.

A dark-haired man in a wet heavy coat leans against the door of a truck laden with firs. next to a boy in a flannel shirt.

Paratrooper and produce wholesaler Louis Robles Sr. supplemented his income in 1949 by selling Christmas trees in L.A. In this family photo from 1955, Robles, then 31, pauses by his Robles Produce truck preparing to drive a load of fir trees from snowy Washington to his lot in Lincoln Heights. The boy at left is unindentified.

When he returned from the war, Louis joined his father selling produce, but he had bigger ideas, Louis Jr. said of his dad. He didn’t want to sell from a truck; instead, he went into the wholesale business, selling watermelons and oranges from a stall at the old Central Wholesale Produce Market at 8th Street and Central Avenue in downtown L.A. He married Elena Ramirez, who helped at the warehouse, keeping the books, and they had four children: three girls — Gail, Priscilla, Denise — and a boy, Louis Jr.

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Then, in 1949, the same year his son was born, Louis Robles had another idea: Watermelon sales slowed in the winter. Oranges were plentiful year-round, but he needed another crop that could fill the income gap. He noticed how people went to the railyard in December and bought Christmas trees off boxcars, so fresh they still had ice clinging to their branches. Packing them in snow was how trees were kept fresh during transport from the Pacific Northwest.

Inspired by this, Louis Sr. found a vacant lot in Lincoln Heights and started selling Christmas trees. Being the innovator he was, he didn’t want to rely on other people’s choices for his trees. So he researched tree farms in the Pacific Northwest and visited them himself, selecting his own trees and, for a while, even driving his warehouse’s Robles Produce truck up north to transport them himself.

A smiling woman in sunglasses, red sweatshirt and white beanie carries two small, bundled up Christmas trees.

Lisa Nassar helps unload small Christmas trees at her brother Gabriel Robles’ Christmas tree lot at Plaza West Covina on Nov. 19. The 53-foot-long truck filled with trees from the Pacific Northwest stopped at Nassar’s lot first in Eagle Rock that morning, and would continue on to their sister Lorraine Robles-Acosta’s lot in Montebello.

Eventually, Louis Sr. bought his own produce warehouse, and Louis Jr., always a helper after school and on weekends, joined the business right after graduation. The younger Robles married his high school sweetheart, Madalene Maldonado on Jan. 4, 1969 — after the busy holiday season, of course — and they immediately started a family. Although she helped at the warehouse, Madalene’s main interest “was being a homemaker; raising her children and being a good wife,” Louis Jr. said.

Louis Sr. was considered by his family to be a taskmaster. He was generous about giving out jobs, but he didn’t tolerate people standing around at work. Laughing, Lisa said anytime you saw him coming, you grabbed a broom and started sweeping. “I still carry that mentality — there’s always something to do, even if it’s just pushing a broom,” she said.

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Louis Sr. instilled that work ethic in all of his family growing up. “Grandfather was the first one out on the floor, always working and moving, and he took people up with him,” Gabriel said. “He really believed if he succeeded, you were going to succeed. It wasn’t about a handout, it was a hand up.”

Christmas trees wrapped up standing tall.

Workers unloaded trees at Robles Christmas Trees run by Gabriel Robles.

Louis Sr. was well-respected by his creditors and so beloved by his employees that they insisted on filling his grave themselves after his sudden death in 1984. But the senior Robles never attended any of his son’s games in high school, Louis Jr. said, and he missed many family activities because of work.

“That was his blind spot. He always put business first,” Louis Jr. said. “I decided I wanted a balance — I would take care of business but I would also take time to go to my children’s games.”

Louis Sr. was such a force of nature, no one was prepared when he fell in December 1984. Because this was the family’s busy season, he insisted on working despite a bad cold that turned into walking pneumonia, Louis Jr. said. He told his family he would rest in January.

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He almost made it. Shortly before Christmas Louis Robles had a stroke, then a heart attack and, on Dec. 27, at age 60, he died.

Two standing men in bright red shirts flank a silver-haired man sitting in a chair, wearing a white dress shirt.

Gabriel Robles, right, consults with his father, Louis Robles Jr., while Gabriel’s son Mason, left, checks his phone during the first delivery of this year’s Christmas trees at his West Covina lot.

Louis Sr.’s death, so unexpected, required Louis Jr. to take over the business himself, but it also cemented his vow to put God and family first. “I remember playing in the all-stars game in baseball and looking for my dad, and he wasn’t there, and I thought, ‘I’m not going to do that to my kids,’” he said.

Gabriel laughed, saying: “My dad was so much into my basketball games, I got kind of embarrassed.”

Eventually, the watermelon and produce business became too competitive, and Louis Jr. sold the warehouse around 2012. By then, Robles Produce was debt-free, he said. His children were working, getting married and established in their own homes, and he’d been ordained as a pastor in 1999 and was deeply involved in his church. But the family pumpkin patch and Christmas tree business remained a constant.

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“It does get in your blood,” said Lorraine’s husband, Joseph, with a laugh. “I got my blood transfusion when I married my wife.”

Today, Louis Jr. acts as an advisor and consultant to his children’s three pumpkin patches and Christmas tree lots. They meet to discuss pricing and inventory, but the siblings run their own lots with each a little different from the other. There are disagreements, of course, Gabriel said, “but in the end, the thing that makes us so successful is we’re united — if someone goes against us, we’re a united front.”

A family photo in front of a truck with an open gate full of christmas trees.

Louis Robles, 76, center, of El Monte, poses with three generations of his family: son Gabriel Robles, of Fontana, far left, with his daughter Loren, 15, wife Kathy, and two sons sitting up top, Mason 19, left, and Roman, 21, Louis’ daughters Lisa Nassar, of Upland, right, Lorraine Robles-Acosta, of Pomona, and Lorraine’s husband Joseph Acosta, far right, at Robles Christmas Trees in West Covina. Gabriel’s sons say they are eager to continue the family business. “I’ve been bitten by the bug,” said Mason.

It’s not clear how many of Louis Sr.’s seven great-grandchildren will continue the family business, but Gabriel’s sons, Roman and Mason, say they’re on board. Both have opted to skip college for a hands-on business course, soaking up whatever they can from their father and grandfather.

“Our great-great-grandfather started with nothing, and now we have this. And every generation we’ve built it higher,” Mason said.

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“Not many kids my age are blessed to have a family business to learn from,” said Roman. “I want to do something more with my life than just showing up.”

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Kumail Nanjiani opens up on his regrets, critical failures and embracing fear : Wild Card with Rachel Martin

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Kumail Nanjiani opens up on his regrets, critical failures and embracing fear : Wild Card with Rachel Martin

A note from Wild Card host Rachel Martin: Here’s my theory about Kumail Nanjiani: He is not a person who is afraid of his feelings. I think he’s the opposite of that kind of person.

Kumail has made his emotional life part of his comedy – whether it’s his deep and abiding love for his wife (as told in the hit movie, “The Big Sick”), his obsession with his cat or the anxiety that grips him in the middle of the night – Kumail’s brand of comedy is often about how we feel our way through living.

His new standup special is on Hulu and it’s called “Night Thoughts.”

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