Lifestyle
The best West Coast travel spots, according to readers
Sometimes 101 is just too small a number.
Many readers, having digested our new list of 101 best West Coast experiences, have stepped up to make the case for destinations we left out, from a country road in Malibu to a remote beach town on a Canadian island. We’ve gathered a sampling of them here.
Most of these readers are pitching their hometowns or sharing finds from their own western ramblings, but others are more mysterious.
One reader wrote from a beloved corner of coastal Northern California to say, “I would tell you [where], but then it would be CROWDED.”
Another reader, insisting on anonymity, said he likes living on a boat in Baja Peninsula, looking out at “the world’s biggest aquarium” in the Gulf of California.
Yet another reader described a “magical” spot at Stinson Beach in Marin County, where birders could watch scores of snowy egrets and great blue herons nest. Alas, officials at Audubon Canyon Ranch say, that moment has passed. A campaign of prolonged and increasing harassment by bald eagles has chased the egrets and herons from the Martin Griffith Preserve. As much as we’d sometimes like it to, the West does not stand still.
As the guy who put together the 101 destinations on our list and fretted plenty over which to include, I have to admit that the readers’ choices here are solid, if not downright jealousy-provoking. I hope to see some of these places in coming months.
Meanwhile, they’re arranged here from south to north.
A road in Malibu
In a passage that sounds like it might be the beginning of a novel, Bryan A’Hearn of Los Angeles writes in praise of driving Malibu Canyon Road on a dewy morning after a long evening with an old friend.
A’Hearn: “Our late night — of lousy cards and sips of cheap vodka and orange juice and industry gossip with too many characters and old and new news — crawled into early morning, and a scenic drive seemed appropriate. It was not quite dawn, and the fog in the valley climbed and coiled the hills ahead of us. Sometimes you were caught in the canyon fog, and the road stretched as long as your low beams. Malibu Canyon Road forks onto tree-hooded backroads; there the fog is mist and veils cul-de-sacs with long, flat houses and fancy mailboxes. My old friend mentioned she once baby sat or dog sat or tutored or nannied — you forget, really — a family up here. The sun yawned over the Pacific and the fog began to lift, and we made the descent to Malibu Colony.”
A historic Black town in Tulare County
Students check out the historical information in front of the Hackett House at the Colonel Allensworth State Historic Park.
(Tomas Ovalle / For The Times)
Lisa Fitch of Los Angeles first visited Colonel Allensworth State Historic Park — site of the first California town founded, financed and governed by African Americans — on a neighborhood group field trip. Soon after, she joined the Friends of Allensworth.
The park is a collection of restored and reconstructed wooden buildings, 12 miles west of Delano in the San Joaquin Valley. The 800-acre town was founded in 1908 near a Santa Fe rail route. Its key proponent, Fitch writes, was an educator and Army chaplain named Col. Allen Allensworth, a charismatic leader who had been born into slavery in the 1840s.
After several years of growth, the town faltered and eventually emptied amid a water shortage, the loss of rail service and the death of Col. Allensworth in a traffic accident. The remaining buildings were at risk of demolition in the late 1960s when former resident Cornelius “Ed” Pope launched a campaign to preserve it. Allensworth became a state historic park in 1974.
On June 8 of this year from 10 a.m. to 4 p.m., Fitch writes, “Allensworth will hold a Juneteeth event! Bring a blanket and umbrella and enjoy tours of the refurbished buildings, entertainment and vendors.”
The star of Sequoia National Park
By volume, the General Sherman Tree is the largest known living single-stem tree on Earth.
(Genaro Molina / Los Angeles Times)
“I understand that any list is curated,” begins Eric Gersh of Agoura Hills. Then his note let me have it for overlooking the General Sherman Tree and its companion sequoias in Sequoia National Park. “Still, astonishing that the largest living things on the planet don’t make that list! Too many memories to list, from my own childhood awe to watching my children experience the same wonder at such ancient giants. Yes, you got the redwoods … twice, but no General Sherman amidst the splendor of the Sierras???”
Mea culpa, Mr. Gersh. For the record, the National Park Service affirms that the General Sherman Tree is “the largest in the world at 52,508 cubic feet (1,487 cubic meters),” standing 274.9 feet high with a base circumference of 102.6 feet.
A lighthouse hostel in San Mateo County
The sun sets behind the Pigeon Point Lighthouse on the San Mateo County coastline.
(Luis Sinco / Los Angeles Times)
Anna Glynne of La Jolla commends the Pigeon Point Lighthouse Hostel, where she stayed last July. Traveling with her sister and her sister’s three children. Glynne booked two nights in a six-person room.
“Our stay was magical,” Glynne writes. “We explored redwood trails in Butano State Park. Her kids spotted elephant seals basking at Año Nuevo State Park. We drove 9 miles to Pescadero for fancy coffees and fresh-baked bread.”
The group’s room had three bunk beds and a private bathroom, with access to a communal kitchen and living area. Other Pigeon Point options include a sunset soak in a hot tub with an ocean view (and often a sea lion soundtrack) or a fort-building session with driftwood on a nearby beach.
Added Glynne: “If you dread camping (like my sister) but still want to explore the California coast on a budget, don’t forget the hostels.”
A theater festival in southern Oregon
Oregon Shakespeare Festival’s Allen Elizabethan Theatre approximates the open-air theaters of Shakespeare’s day.
(Mark Boster / Los Angeles Times)
Reader Trinity Tracy of Ashland now takes center stage to speak in favor of the Oregon Shakespeare Festival in Ashland.
As Tracy writes, it’s not just Shakespeare and not just a summer thing. The theater festival, which dates to the 1930s, runs March through October, featuring new and traditional plays. Like many theater companies, Oregon Shakespeare has faced struggles since the pandemic, but “it’s really incredible … one of the best and biggest Elizabethan theaters in the world and two other theaters.” In addition, the town of Ashland (not far from Crater Lake) has more than its fair share of restaurants, pubs and lodgings for theatrically inclined travelers.
This year’s Oregon Shakespeare productions include Shakespeare’s “Macbeth,” “Coriolanus” and “Much Ado About Nothing;” along with “Born With Teeth” by Liz Duffy Adams (an imagined encounter between William Shakespeare and Christopher Marlowe); “Lizard Boy,” an indie-rock musical by Justin Huertas; an adaptation of Charlotte Bronte’s “Jane Eyre” by Elizabeth Williamson; and several one-person shows.
A rugged beach in Olympic National Park
Ruby Beach, known for driftwood and stones, is part of Washington’s Olympic National Park.
(Christopher Reynolds / Los Angeles Times)
Joel Kawahara of Quilcene, Wash., suggests Ruby Beach, which is a rugged patch of rocky shoreline, often full of driftwood, in Olympic National Park.
Kawahara: “Ruby Beach is almost completely undeveloped. There is a parking lot, a potty and a trail to the beach. There is no development on the beach; it is simply just as the last wave left it. It is perhaps a little over-visited so crowds are an issue. But if you want to understand the north coast, just stand there and watch the surf and look carefully in the tide pools. Don’t think. Be zen. Or as zen as you can.”
A park in Washington’s Port Townsend
Jeffrey Crocker of Pittsfield, Mass., suggests Fort Worden Historical State Park in Port Townsend, Wash. Crocker calls it “a beautiful place. Where the movie ‘[An Officer and a Gentleman’ (1982) was filmed. Rustic, scenic area at entrance to Puget Sound. Camping, hiking.”
Bellingham, Wash.
Taylor Dock is a popular waterfront playground for adults and children in Bellingham, Wash.
(Christopher Reynolds / Los Angeles Times)
Michael Grass of Bellingham, Wash., suggests his hometown. (And really, you have to love a place that calls itself “the city of subdued excitement.”)
For best effect, Grass says, arrive by train around sunset, taking in the scenery near Chuckanut Mountain and focusing on the historic Fairhaven neighborhood.
“I work remotely from Bellingham and commute into Seattle via Amtrak Cascades a few times a month,” Grass writes, “and never tire of the waterside train views on the 6 p.m. departure out of Seattle.”
Grass notes that Bellingham’s Amtrak station is in the Fairhaven neighborhood. He recommends eating at Fairhaven Poke, drinking at Southside Bar, checking out the watery views from Taylor Dock, hearing music at Skylark’s and browsing Village Books, “a three-level bookstore and community crossroads known for its book talks, programming and writing workshops.” Or you could head to the cruise terminal and catch a ferry to Ketchikan via the Alaska Marine Highway System.
Among Washington’s San Juan Islands
In this photo taken July 31, 2015, an orca whale leaps out of the water near a whale-watching boat in the Salish Sea in the San Juan Islands, Wash.
(Elaine Thompson / Associated Press)
David Tull of Mountain View casts his vote for the San Juan Islands.
“The San Juan Islands are beautiful. Period,” he writes. “The archipelago contains numerous islands of different sizes and accessibility. In places there are narrow channels between islands as well as open sea. The region is home to pods of orcas and gray whales and humpbacks. In addition, bald eagles are thriving in the islands. My biggest thrill was being out on the water in a small boat with orcas coming alongside. Tourism is the principal industry now, but the islands’ largest town, Friday Harbor, is not garish, schlocky or overrun.”
A coastal town on Canada’s Vancouver Island
Tyler Mark of Los Angeles was disappointed in us for overlooking Tofino, on Vancouver Island in British Columbia.
Writes Mark: “How you make a list without a visit to Tofino is beyond anyone who has been there. This small town perched on the tip of a peninsula on the west coast of Vancouver Island, with the Pacific and its whales on one side and its bay full of otters on the other, is a gem. White-capped mountains cascade down to redwood forests and an archipelago of small timbered islands with beautiful surfable beaches.” Mark also lauds Tofino’s food scene. Basically, he concludes, “This place has everything except easy access, which makes it more special.”
A promo image for Wait Wait…Don’t Tell Me featuring Peter Sagal, Ken Jennings, and Bill Kurtis
Araya Doheny, Timothy Hiatt, and NPR/Getty Images and NPR
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Araya Doheny, Timothy Hiatt, and NPR/Getty Images and NPR
This week, legendary Jeopardy champion and host Ken Jennings joins panelists Tom Bodett, Joyelle Nicole Johnson, and Faith Salie to talk swearing on air and making up little lies to tell Alex Trebek
Just about every corner of Julie Burton’s Silver Lake studio is filled with sparkling glass jewelry — some real, some symbolic — and whimsical ceramic figures inspired by Midcentury Modern design.
Elegant hand-blown glass vases sit beside ceramic crater pots on warm cherry shelves. Bright teardrop earrings hang from metal tins filled with Japanese cooling beads. In the kitchen, hand-carved ceramic birds, whales, elephants and owls look out from the counters, surrounded by lidded cache pots and heavy candlestick holders that feel good in your hand. Nature shows up everywhere in her studio: rocks in glass jars, pieces of driftwood and tiny “forests” she’s made from glass, brass and walnut.
“I’m a full-time hallucinator without drugs,” Burton says jokingly about her wide range of work. “If I’m not making something, I’m always looking around and thinking about what to make next.”
A metal desk she found on Craigslist anchors the 546-square-foot accessory dwelling unit, or ADU, where she works. Architect Peter Kim designed the space, attached to her garage in Silver Lake, to be private and full of light, with 10-foot ceilings, skylights and glass doors that open onto a large patio with seating.
Her workspace shows how productive she is. Long, colorful glass tubes fill pails on the floor and her desk. Tools are scattered throughout the studio, including a plumber’s torch for melting glass, crockpots for pickling and a dental tool she uses to stamp her logo, VM, short for Verre Modern, onto her ceramics.
At 56, the Los Angeles native took an unusual route to becoming an artist. After earning a degree in political science from UC Berkeley, she worked at Amoeba in San Francisco and later joined the fashion brand Esprit. “I was supposed to be a data-entry person,” she says, “but I taught myself Quark and became a pattern maker.”
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in and around Los Angeles.
She admits she didn’t really know what she was doing. “I have a habit of taking jobs and changing them a bit. I’ve been lucky to be able to shape the jobs I’ve had.”
At one point, she considered becoming a professor of legal ethics, so, as the daughter of two lawyers, she applied to law school. “That would be an interesting job today,” she adds with a dry sense of humor.
“Built-in desks, cabinets, shelves and a functioning kitchen with counter seating provide a light-filled artist’s studio easily convertible to a spacious living space,” architect Peter Kim says of the ADU.
Burton melts glass for jewelry with a plumbing torch.
She had always loved art, especially glass-blowing, but classes were too expensive. On a whim, she also applied to the prestigious Rhode Island School of Design, or RISD. When she didn’t get into her top law schools, she chose RISD instead. There, she majored in illustration and took a six-week winter glass-working course that changed her life.
“I immediately thought, ‘This is the best. I want to do this,’” she says. “I didn’t think, ‘Can I do glass blowing for a living?’” When she realized she didn’t want to create art glass, her professor encouraged her to leave and “save $90,000 on tuition for something she wasn’t 100% behind.”
When a RISD friend introduced her to a glassblower in Chattanooga who had blown glass on an oil rig, Burton moved to Tennessee and worked for the former merchant marine, making what she describes as “funky glass.”
She later moved to New York and worked at the nonprofit Urban Glass in Brooklyn. To pay off her student loans, she also waited tables and tutored kids for the PSAT and SAT.
After a friend gave her a quick five-minute lesson in lampworking — a type of glasswork that uses a torch or lamp to melt glass — she got so excited that she decided to start a jewelry business, although she says she “knew nothing about jewelry.”
Glass necklaces, starting at $140, come in 135 different colors.
After a brutal winter in New York and as her parents got older, she decided to move back to Los Angeles in 2003. In L.A., she met her husband, had a son who is about to turn 15 and continued to grow her Verre Modern jewelry line. Over time, her work expanded to include glass and brass mobiles and wall hangings, which are now sold in independent shops and museum gift stores across the country.
Designer Carol Young has carried Burton’s jewelry at her Undesigned showroom in Los Feliz for 20 years. Young says that Burton “transforms humble glass into modern heirlooms — simple, elegant, quietly precious pieces for women who don’t need the obviousness of gemstones or status jewelry. My everyday pair are her clear glass Valenti earrings, which somehow go with absolutely everything.”
When she took a ceramics class in 2015, she started making vases, animals and decor, often hand-building and carving her unique vessels while watching TV in her living room. Like with most things, she says, she made ceramics her own.
“When I was blowing urban glass, I didn’t use traditional Italian glass-blowing techniques because I worked for a guy on a mountain in Tennessee,” she said. “I didn’t know anything about jewelry, but a five-minute lampworking lesson set me on my path. If someone who does ceramics for a living were to watch me do what I do with clay, they’d say that’s not the right way to do it.”
Burton worked in a studio on Spring Street in downtown Los Angeles for 20 years before she and her husband added the ADU in 2023. “It was built with the idea that we might live in the studio someday or let a family member live there,” she says, adding with a laugh: “It’s embarrassingly nice as a working studio. That is definitely not how my studio downtown looked.”
Burton’s kitchen features Inax Japanese ceramic tile and untreated cherry cabinets.
The cutouts in the fence around her patio just outside the ADU are lined with her ceramics, sand dollars, driftwood and rocks from Burton’s travels. “I’m inspired by nature,” she says.
The one-bedroom, one-bathroom ADU was built on an unused side yard of the large corner lot, so the two-car garage could still be used for storage and parking. Architect Kim says, “While converting a garage to an ADU can add living space or rental income, they’re often small, need a lot of structural work and take away storage.” He adds, “Building an ADU on unused space lets you keep the garage and, like with Julie’s ADU, creates a spacious, private front patio connected to her studio and living room.”
Burton looks back on her unique career path and feels grateful she can choose her own direction. When she studied illustration at RISD, she recalls being surrounded by talented drafters. “I wasn’t the best illustrator, and I remember the professor told me that half of illustrations are ideas. That was inspiring.”
That idea continues to inspire her art, even after many years.
“I’ve tried welding, woodworking, painting, drawing, glass-blowing, lampworking and working with clay,” she says about working with her hands. “Give me a medium, and I’ll give it a go.”
Burton works on a facet bowl in her Los Feliz living room.
(Ariana Drehsler / For The Times)
San Francisco Ballet artistic director Tamara Rojo is known for taking risks. She says that, with the exception of Nutcracker, “every time you bring back the same work, less people will come. You are cannibalizing yourself. So that’s not really a long-term strategy that you can rely on.”
Karolina Kuras
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Karolina Kuras
One of the first things Tamara Rojo did when she became artistic director of the San Francisco Ballet in 2022 was to commission a major new work on a very hot, very San Francisco topic: AI.
“I wanted to be somewhere where the answer is, ‘Let’s try,’ rather than, ‘We’ve never done it this way,’” Rojo told NPR about her decision to move to a city known globally for innovation. Rojo had spent decades working in the United Kingdom, first as a principal dancer with the Royal Ballet and English National Ballet and then as artistic director and lead principal dancer with the English National Ballet.
The ballet she commissioned for San Francisco, Mere Mortals, was boundary-pushing on a number of fronts.
San Francisco Ballet’s new work about AI, Mere Mortals, presents a departure for the nearly 100-year-old dance institution.
Chris Hardy/San Francisco Ballet
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Chris Hardy/San Francisco Ballet
The jagged, earthbound movement, grainy electronic-driven soundtrack and pulsating AI-generated visuals of the hour-long ballet, presented a departure for the company programmatically. Also, Rojo’s choreographer pick, Aszure Barton, was the first woman ever commissioned to create a full-length work in the San Francisco Ballet’s nearly 100-year history – in an industry where most new dances are still created by men.
“What I love about Tamara is that she is defiant in what she believes in,” Barton said at the San Francisco Ballet’s headquarters during a break from rehearsing Mere Mortals. “This was a huge risk for her. It could have failed.”
Ballet can be a pretty conservative artform, with many companies trundling out Swan Lakes, Nutcrackers, and Cinderellas year after year. Every now and again, though, someone like Rojo comes along and truly shakes things up – even if that has meant ruffling tutus in the process.
Moving beyond limits
Rojo’s desire to move beyond accepted limits is a hallmark of her career. “She has extraordinary ambition,” dance writer Rachel Howard said.
Rojo was only 19 when she volunteered to represent her small, Madrid-based dance school and company at the prestigious Paris International Dance competition in 1994.
During her years as a principal dancer with the Royal Ballet, Tamara Rojo danced many famous roles including Princess Aurora in The Sleeping Beauty. In this 2006 dress rehearsal at The Royal Opera House, the Cuban ballet star Carlos Acosta partnered Rojo as Prince Florimund.
John D. McHugh/AFP/Getty Images
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John D. McHugh/AFP/Getty Images
“I don’t know what happened, but my hand went up,” Rojo said. “I didn’t think about it. I just went ‘me!’”
She won gold, and soon went on to dance for the Scottish National Ballet, the English National Ballet, and, starting in 2000, the Royal Ballet.
The ballerina became known for her consummate technique as well as her ability to bring emotional depth to roles like Odette/Odile in Swan Lake, Aurora in The Sleeping Beauty, and Giselle.
“Tragically sensual as one could want,” wrote New York Times critic John Rockwell in a review of Rojo’s performance of a duet from Ondine at the Lincoln Center Festival in 2004.
She also somehow found the time to earn a Ph.D. in the psychology of elite dancers from the Universidad Rey Juan Carlos in Madrid.
“She was truly one of the great international ballet stars of the last 40 years, at least,” said Howard.
Daring and success
Rojo has taken that same boundless ambition from the stage to the artistic director’s chair — making moves that match daring with success.
As the English National Ballet’s artistic director and lead principal dancer from 2012 to 2022, she helped transform the company into an international dance powerhouse, in large part through her radical approach to programming. Rojo’s efforts included bringing ballet to the Glastonbury Festival for the first time in the event’s history, and commissioning an Indian Kathak dance-infused reimagining of the beloved classic Giselle from choreographer Akram Kahn.
She also managed to keep the company financially afloat by offering up crowd-pleasing fare like The Nutcracker and a “swashbuckling romp” of a production of Le Corsaire, and oversaw its move from a cramped building in the “old money” South Kensington neighborhood of London to sprawling new studios in hip Canning Town.
Akram Khan and Tamara Rojo, pictured in London in 2013, have become frequent collaborators.
Tim P. Whitby/Getty Images
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Tim P. Whitby/Getty Images
“Rojo was hugely resourceful and creative about how she revitalized that company,” Howard said.
Sitting in her office at the San Francisco Ballet in dressy white sweatpants and an extravagantly ruffled blue blouse, the Spanish native, who turns 52 on Sunday, said the survival of her artform depends, at least in part, on risk-taking.
“Other than Nutcracker — which is this fabulous thing that keeps us all alive — every time you bring back the same work, less people will come,” Rojo said. “You are cannibalizing yourself. So that’s not really a long-term strategy that you can rely on.”
A risk pays off
The risks Rojo has taken with Mere Mortals seem to be paying off.
The production was recently remounted in San Francisco (it premiered in 2024), and will also be seen by audiences at the Edinburgh International Festival and Sadler’s Wells in London this summer. According to the company, it has brought in millions of dollars in ticket sales and drawn crowds of first-time ticket-buyers to the San Francisco Ballet.
A scene featuring dancer Wei Wang in San Francisco Ballet’s Mere Mortals.
Chris Hardy/San Francisco Ballet
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Chris Hardy/San Francisco Ballet
Many of them have stuck around for the post-performance DJ parties. These are part of Rojo’s ongoing desire to open things up by turning the company’s lobby into a friendlier space involving collaborations with local cultural groups and artists.
“We have this platform. We don’t have to be a gatekeeper. That’s actually bad for the arts,” Rojo said. “And so who else can we invite to be part of our actions?”
Perhaps most importantly for the company, Mere Mortals inspired a whopping, $60 million gift from an anonymous donor — one of the largest ever given to an American ballet company. This windfall is mainly earmarked to fund new work. Barton, the choreographer, said she remembers when Rojo invited the donor into the rehearsal room.
“She’s very convincing when she believes in something,” Barton said. “If I had the means, I would give it to her too.”
A difference of vision?
But not everyone is on board with the changes she’s made and her leadership style.
In 2018, during her time leading the English National Ballet, the U.K. publication The Times quoted a group of unnamed dancers who it said had accused Rojo of perpetuating a culture of intimidation and downplaying injury. Those dancers also objected to her romantic relationship with one of her company’s lead dancers, Isaac Hernandez, who moved with her to the San Francisco Ballet. They have a son together, but have since separated. NPR has not independently confirmed the allegations.
Tamara Rojo and associate artistic director Antonio Castilla observing rehearsal for the San Francisco Ballet’s recent production of Don Quixote.
Lindsey Rallo/San Francisco Ballet
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Lindsey Rallo/San Francisco Ballet
In a 2018 statement, English National Ballet said the company had worked with Rojo “from the start to implement improvements across the company,” including better access to medical care, more training for managers and a new building. Arts Council England, which funds and supports the arts across that country, said at the time it was satisfied with the new policies and processes put into place; English National Ballet said it worked with “unions and staff to ensure that feedback was heard and concerns were addressed. Asked about the allegations this week, the ballet told NPR that “No formal grievances were substantiated.”
Looking back, Rojo says that it was challenging to learn how to be a manager while still dancing, and to make changes in an industry where management is so male-dominated. A 2025 report from the Dance Data Project revealed of the 217 artistic directors leading classically based dance companies in the U.S. and internationally, 30% are women, while 70% are men.
“I came in very strong and very fast,” Rojo said. “And that, combined with ‘Women that succeed need to be put in their place,’ was very difficult.”
Tamara Rojo and Isaac Hernandez in London, 2016.
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Chris Jackson/Getty Images
It’s hard to say if similar disagreements over leadership happened when she took over San Francisco Ballet. A handful of high-profile company members have left, including Hernandez. The dancers declined to comment. San Francisco Ballet said the number of roster changes is similar to the number before her tenure.
“Not everybody’s going to agree with my vision,” Rojo said.
Some San Francisco Ballet dancers concur.
“Like any leadership change, sometimes people feel aligned with it and sometimes not,” said principal dancer Sasha De Sola. “The role of an artistic director is to bring their creative vision and continue to build.”
Cultivating dance leaders of the future
Part of Rojo’s creative vision is an unusual, new two-year program aimed at identifying and training the next generation of dance leaders while they continue to perform on stage. De Sola is a participant.
“Many times you’re required to almost wait until the end of your [ballet] career to be able to pursue these things,” De Sola said. “And I feel grateful that I’ve been able to do these in tandem.”
Rojo said she believes ballet dancers are capable of being great leaders if they’re taught how to do it. “You just need to have a vision that is specific and relevant to the institution that you want to direct and that is financially sustainable,” she said. “And you also need to make great art.”
Jennifer Vanasco edited this story for broadcast and web.
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