Lifestyle
Wait, it’s a candle? Her beeswax fruit and veggie ones look so real, you’ll want to take a bite
Jessica Gonzalez hustles behind her booth at the recent Renegade Craft Fair, frantically ringing up sales, answering questions and packaging her beeswax candles.
It’s hot on the grounds of the Los Angeles State Historic Park in April, but 35-year-old Gonzalez and her fiancé, Jordan Colindres, keep their cool as a crowd gathers to admire her Happy Organics candle collection, a homage to her family’s produce company in the Central Valley that looks like real fruits and vegetables.
“I love doing in-person events because it’s so fun to see people’s reactions,” she said a few months later. “It makes me feel good to see other people finding joy in my candles. They often say, ‘Oh, that’s really funny.’ And it is funny to have a cherry candle on top of your birthday cake.”
1. A staff member pulls a beeswax corn candle, $26, out of its mold at Happy Organics’ studio in downtown Los Angeles. 2. Each Beeswax Mixed Berry Birthday Candles set is cast from real mixed berries — strawberries, raspberries, blackberries, blueberries and cherries. A set of 10 is $30. 3. Bartlett green pears and heirloom tomatoes, $24 to $40.
Judging by the smiles and charmed looks on shoppers’ faces, her produce-inspired candles are less about illuminating rooms and more about sharing the joy she sought when she first started the company in 2018.
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in and around Los Angeles.
But then, it’s hard not to smile at the playfully elegant Bosc pears, puckered mandarins and green-and-purple asparagus taper candles which range in price from $12 to $40. Some are molded into corn on the cob, celery and rhubarb shapes. Others are made to look like mushrooms, figs, tomatoes and snap peas. The most popular are the small birthday candles shaped like raspberries, cherries and blackberries, packed in molded-pulp baskets just like you’d find at the grocery store or farmers market.
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Gonzalez didn’t start out as a designer. The youngest of nine children, she was born in 1991 in Salinas and later moved to Merced, where she grew up on a 10-acre farm. She studied computer science at Mills College, then worked in tech consulting in the Bay Area and eventually became the CTO of an ag-tech company. When her mother, Angela, became ill in 2016, she returned to Merced to be with her family.
When her mom died suddenly soon after she moved home, Gonzalez left the tech industry. “I wasn’t connected with what I was doing,” she said. “I wanted to find something more meaningful; something I loved. I didn’t want my ego to keep me stuck in what I studied in college. I decided to let myself try new hobbies and passions and look for joy again.”
After her mother’s death, she began working with her father, Salvador, and her uncles at the family’s apiary, where they managed more than 30 hives. (Her grandfather was also a beekeeper in Michoacán, Mexico.) Soon, she began selling their raw honey at local farmers markets. In a heartbreaking turn, her father was diagnosed with cancer a year later, so she started making cannabis-infused honey, balms and chocolates to help ease his pain.
When she saw that the beeswax candles, which last significantly longer than paraffin candles, were selling faster than the honey, she decided to focus on making candles from the leftovers from her uncles’ hives.
She was only 25, but it was a turning point. “It was one of those moments where I felt like I needed to change my path,” she said. “I needed to change everything in my life.”
Jessica Gonzalez and her father Salvador on their family farm in Merced. (Gonzalez family)
Gonzalez at Happy Organics’ studio in downtown Los Angeles. (Christina House / Los Angeles Times)
When her father died in 2018, she inherited his bees and started Happy Organics, although she hadn’t planned on starting a business. After experiencing so much loss, making candles became a kind of therapy. “It felt great to work with my hands again, something I thought I’d never have time for,” she said.
Her oldest sister, Sonia Gonzalez, said Gonzalez reminds her a lot of their father, who reinvented himself many times over the years.
The nopal cactus is cast from a real nopal and hand-poured in 100% pure beeswax in the Los Angeles studio.
“He grew up as a village boy in the rural mountains of Michoacán, Mexico, and went on to work in restaurants, cut down Christmas trees and pick strawberries and broccoli in the fields of Salinas,” she wrote in an email. “From there, he started selling produce door-to-door, then at flea markets and eventually built his own produce distribution business from the ground up. As the youngest of nine kids from a working-class family, Jessica’s always been incredibly resourceful, responsible, and amazing at reinventing herself.”
Like a lot of millennials, Gonzalez taught herself how to make candles by watching YouTube videos. She started with hand-dipped tapers, working in the garage on the farm that helped her feel safe and connected to her parents. “It was a really nice environment to try something new and creative,” she said.
Inspired by her family’s produce, she cast real corn, strawberries and cherries in plaster, then made a silicone mold to create copies. Even when using the same mold, color can vary from batch to batch, and how it cools also affects the result. “That’s just how handmade things are,” she said. “There’s always some variation.”
Cherry molds make cherry candles at Happy Organics’ studio in downtown Los Angeles.
A variety of fruit and veggie candles.
When she moved to Los Angeles in 2023 to be with Colindres, her business took off. “L.A. is a great place to grow,” she said. “There’s so much opportunity here. When I go to a farmers market, I never know who I’ll meet.”
She sold her candles in person at craft shows, the Hollywood Farmers’ Market and most recently, during a residency at the P.F. Candle Co. showroom in Echo Park.
1. A staff member trims the wicks on a pair of carrot birthday candles, $22. 2. Gonzalez passes by shelves of candles at Happy Organics’ studio in downtown Los Angeles. 3. Asparagus taper candles, $30.
“I have a lot of respect for her as a fellow candle maker (making molds is not easy), but getting to know her story more and how her choice of foods and wax is reflective of her family’s history gave it so much meaning,” P.F. Candle Co. founder and creative director Kristen Pumphrey said in an email. “It’s been a tough couple of years for L.A. businesses, so we gotta stick together — there’s this wonderful sense of community hosting a local brand that’s so passionate about their work.”
As her business has expanded, her products are now available at Terrain, Joan’s on Third and the MoMA Design Store in addition to her website. She has also had to source beeswax from other vendors across the country to keep up with demand.
Kimberly Curtis, owner of Hide & Seek Vintage in Studio City, said Gonzalez’s strawberry and cherry birthday candles “flew off the shelves last year” during the holidays. “Our customers love them,” she added.
Gonzalez holds a cabbage candle.
Still, Gonzalez stays connected to her Central Valley roots. Everything she and her small team make in downtown Los Angeles is handmade and “takes time,” she said, describing the steps involved in crafting quality candles. Right now, her favorite is the Nopal Cactus candle, which she made using a clipping from an employee’s yard. While others help her with production, wholesale management and packaging, she focuses on sales, content and all-new product development.
When asked if she has advice for others who want to start their own business, Gonzalez admits she sometimes feels overwhelmed.
In 2013, Gonzalez and her family gathered at their Merced ranch to celebrate her parents’ anniversary.
(Gonzalez family)
“The biggest thing that has gotten me through the toughest spots is my why or my reason for starting,” she said. “I think that has to be really strong. That’s what brought me a lot of comfort when I felt like quitting: going back to the beginning and remembering why I started this.”
For Gonzalez, her reason is always close to her heart. “I wanted to feel connected to my parents in some way,” she said. “This was a good representation of my upbringing.”
Lifestyle
‘The End Of Oak Street’ is a prehistoric good time : Pop Culture Happy Hour
Anne Hathaway in The End of Oak Street.
Daniel McFadden/Warner Bros. Pictures
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Daniel McFadden/Warner Bros. Pictures
In the fun, entertaining new film, The End of Oak Street, Anne Hathaway and Ewan McGregor star as a married couple in the early 1980s. One night, their entire suburban neighborhood is transported to a time filled with a variety of large and dangerous dinosaurs. Written and directed by David Robert Mitchell (It Follows), it’s part action-adventure, part monster movie, part dark comedy. But after so many dino-packed blockbusters, does this movie offer a fresh take to the prehistoric creature feature?
If you need a few more creature features, check out these episodes:
‘Minions & Monsters’ is, oddly enough, a love letter to Old Hollywood
Only Guillermo del Toro could’ve made this ‘Frankenstein’
‘Jaws’ is still stuck in our teeth, 50 years later
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Lifestyle
Chainlink necklaces, lace headpieces, fringe bangs. The personal language of adornment
This story is part of Image’s August Adornment issue, which dives into loud, expressive and distinctive accessories.
When I was 20 years old studying abroad in Paris, I had a French teacher who took issue with my sense of style. During one class, she managed to transform my yellow wool dress into a language lesson: People who wear bright colors call attention to themselves, she said in French while looking at me and making some point about grammar that quickly went over my head. More than offended, I was confused. I had not considered, or particularly cared, what my yellow wool dress might ignite in others. My quickly growing love for yellow had been more of an internal journey. I had gravitated to the color like a moth to light, seeking the dopamine hit of its glow, as if by osmosis I could absorb and become it.
Sitting with the stories in this issue, I am struck by a consistent and gentle contradiction: that many of us adorn ourselves in loud, expressive or peculiar accessories and clothes not to show off or be seen, but to hide, find comfort, turn inward. Chainlink necklaces, lace headpieces and even fringe bangs become a form of armor. As fashion designer Bryan Hearns says, “it’s kind of like you’re protecting yourself” — words that echo in Julissa James’ essay on hardware, in which her studs “communicate to predators” that she does “not identify as prey.”
In observing the Los Angeles Ballet at rehearsal, Claire Salinda distills the appeal of ballet core: How slippers and satin can make you feel more confident, secure and ordered in a chaotic world. In the studio, she marvels at the intimacy of ballerinas pulling up their leg warmers and doing their hair in the mirror as they wear their own YMCA T-shirts, crochet ponchos and charm necklaces. They show up not as characters, but themselves.
How we adorn ourselves is extremely personal, even a little superstitious. It is a secret code that cannot be fully understood by outsiders.
Cover
Photography Joelle Grace Taylor
Movement Direction Charissa Kroeger
Creative Direction Elisa Wouk Almino
Videography Trace Taylor
Dancers Natalia Burns, Holly Bratkovich, Cassidy Cocke, Abigail Gross, Taylor Hugens, Chloe Oronoz, Cleo Taneja, Nick Sedano, Theo Swank, Paige Wilkey
Production Cecilia Alvarez Blackwell
Photo Assistant Dante Velasquez Jr.
Image Flag & Lettering Steven Rodriguez
Lifestyle
How would a Kennedy Center shutdown impact artists and audiences?
The entrance to the John F. Kennedy Center for the Performing Arts in Washington, D.C. on Aug. 13, still draped with the tarp that has been in place for months.
Brendan Smialowski/AFP via Getty Images
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Brendan Smialowski/AFP via Getty Images
On Thursday, the Kennedy Center board voted for a second time to shut down most of the arts complex for two years of renovations. The project is estimated to cost $250 million and if it gets approval from a federal judge, it could have a sizable impact on audiences and artists alike. The board is also trying to add Trump’s name back on the building for a second time, after a federal judge ordered its removal.
Instead of naming the complex after Trump, according to the latest plan, the signage would instead say that the center was “restored and renovated by President Donald J. Trump.”

NPR has requested a copy of the proposal from the Kennedy Center, but did not receive a response. An individual who was briefed on the board meeting and renovation plans confirmed the details and the vote to NPR, but is anonymous because they are not authorized to speak to the media. The proposal and the potential name change were first reported by The New York Times.
“Today’s sham meeting makes clear the Trump-appointed Board of the Kennedy Center believes it is above the law. What happened today was nothing more than a rubber stamp on a decision the President made months ago that the Board already tried to effectuate without doing proper due diligence,” Sen. Sheldon Whitehouse, a Democrat and ex officio member of the Kennedy Center board said in an emailed statement after the vote.

Already, the Kennedy Center’s public profile has shifted. Last December, when the board tried to rename the complex the “Trump Kennedy Center” and Trump’s name was added to the front entry as well as the center’s public-facing materials (including its web site, signage, program booklets and merchandise), many marquee artists canceled, including the composer Philip Glass and the Martha Graham Dance Company. Many performers said that the arts center had become politicized.
What does the new proposal include, and who’s overseeing it?
The proposed project includes structural repairs, new marble floors, nearly $12 million in “acoustical improvements” and a plan to temporarily move the famed, eight-foot bronze bust of Kennedy that sits in the center’s main foyer. None of the current board members have any known expertise in acoustics, performing or presenting the kind of performing arts — including classical music, dance and jazz – that have been staple programming at the Kennedy Center for decades. The only artist on the board is a close Trump ally, country music singer Lee Greenwood.

It is also unclear whether the construction management firm named in the plans, JLL, has any experience with arts venues that feature unamplified performances, such as the orchestras, solo and chamber instrumentalists, opera companies and dance ensembles that have comprised much of the Kennedy Center’s programming for decades. NPR reached out to JLL for comment, but has not received a reply. Additionally, it is unclear how many companies bid on the construction contract, or how the firm was selected; NPR has reached out multiple times to ask the Kennedy Center for comment on the newest plans, but has not received a response.
According to the board’s current proposal, the target date for a reopening is summer 2028. Prominent arts administrators who will not comment publicly due to fears of retaliation or because they were not authorized to speak to the media have told NPR that once a performing arts venue or organization shuts its doors – even for a brief renovation — it’s usually a hard road back to solid footing; it can be very difficult to coax audiences back, once they’ve lost the habit of attending.

There’s an additional consideration, too: the touring schedules of top-level international performers, the kinds of solo artists and orchestras who were previously engaged at the Kennedy Center, are generally set years in advance. Renovations are frequently delayed, so by the time the arts complex is actually ready or nearly ready to reopen, artists may already be booked until at least 2029 or 2030 — and that is a very long time to ask audiences to hold on before their attentions wander elsewhere.
The Kennedy Center’s audience — and artist, and staff — drop-off
Audience attendance has already declined sharply for various reasons. On social media, people said they didn’t want to go to performances that had become attached to Trump’s name, or because shows they wanted to see had already been canceled.

Ticket sales plummeted. In January, one of the center’s resident companies, the Washington National Opera, left entirely. The complex’s other resident organization, the National Symphony Orchestra — whose budget is far more tethered to the center — is now in a deep financial crisis, according to multiple internal sources at the NSO who are not authorized to speak publicly. The orchestra’s money troubles were first reported by The Washington Post.
As a result of those dwindling audiences, as well as the board’s previous attempt to wind down programming in anticipation of the major renovations which Trump has been heralding for months, the Kennedy Center is currently offering only a tiny fraction of its previous slate. For example, the institution prided itself on its Millennium Stage programming, which presented a free public performance every day, 365 days of the year, for decades.
Under the board’s current plan, the center’s main building will be shuttered, while keeping The REACH, a 2019 addition, open for limited programming and as a memorial to the late President John F. Kennedy.
In recent months, much of the center’s staff, ranging from artistic curators to development staffers, have either been fired or have left. Over this period, dozens of prominent figures in the performing arts community, including former Kennedy Center staffers, have told NPR that they believe that the call for renovations from within this Trump-led board has been a way of covering the center’s recent programming and financial failures. Those individuals are not willing to be named publicly because of fears of retaliation, but they have said that between lost ticket revenue and lost donations, the current numbers cannot add up to financial stability. Large legacy institutions like the Kennedy Center generally depend on a balance of earned revenue, philanthropic giving and some amount of government grants.
Jennifer Vanasco edited the audio and digital version of this story.

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