Going Gray in LA

Going Gray in LA

Today I was down at the Central Library and stumbled across a very cool show about growing old in Los Angeles. Journalist Ruxandra Guidi and photographer Bear Guerra spent time with seniors living in four communities along Broadway: Lincoln Heights, Chinatown, Downtown and South LA. The show is called Going Gray in LA: Stories of Aging Along Broadway, and it documents a side of the city that most of us pay little attention to. The images the media presents of LA are generally focussed on the young and beautiful. Senior citizens, unless they’re rich and famous, are usually ignored.

You can see the show like I did, in two small galleries on the first floor of the Central Library.

Going Gray in LA at Los Angeles Central Library

If you do make the trip Downtown, you can pick up a free print version of the material, with text in English, Spanish, Japanese and Chinese.

You also have the option of viewing the images and stories on KCRW’s web site.

Going Gray in LA at KCRW

Either way, you should check it out. The images are beautiful and the stories open a window on a world most of us don’t pay enough attention to.

Downtown Artists Fight Eviction

AE 01 Coming Soon

Artists are being forced out of the Arts District. This isn’t news. It’s been happening for years. The news is that now the artists are fighting back.

On Saturday, November 4, two groups of artists facing eviction organized a parade to bring attention to the rampant displacement that threatens their community. Earlier this year the residents at 800 Traction were told by the new owners of the building that they’d have to leave. Also this year, the people behind the Artists’ Loft Museum Los Angeles (ALMLA) were hit with a steep rent increase that seems intended to force them out. So the two groups have gotten together to let the world know that they’re not going quietly.  On Saturday, November 4 they staged a parade through Downtown.

AE 10 Skel Pharm

The parade started in Little Tokyo.

AE 12 Angel 1

Took a right on Alameda.

AE 14 Crowd Alameda 3

Then the protesters headed down Alameda toward Fourth.

The parade started in Little Tokyo, cut down Alameda to Fourth, then wended its way along Seaton, Fifth and Hewitt, finally winding up at 800 Traction. It was an interesting walk. Protesters waved signs and displayed artwork. Two giant skeleton figures towered over the crowd. A few cars honked to show their support.

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A momentary pause on Alameda.

AE 18 Crowd Seaton 2

Marching along Seaton.

AE 20 Merrick

And then up Merrick.

We passed in front of the building that holds ALMLA, which is actually a brand new enterprise. Michael Parker and Alyse Emdur have lived in this space, along with other artists, for 16 years. Parker says that in just the last 6 years their rent has risen by 200%. The latest increase is beyond what they can pay, and Parker believes it was designed to force them out. So the artists at 454 Seaton decided to create ALMLA, which they hope will draw attention to their situation, and to the larger wave of displacement that’s sweeping across Los Angeles. Just before the museum’s opening, the landlord went to court to shut the event down. Fortunately he failed.

I used to hang out in this area back in the 80s and 90s. It’s depressing to see some of the changes that have taken place. While most of the buildings remain, with the onslaught of gentrification many of them now house chic boutiques and pricey restaurants. Anonymous LLCs have bought up a lot of the real estate, and investors seem bent on turning this part of Downtown into something very close to a suburban mall.

AE 40 Shop

Shop in the Arts District.

AE 42 Restaurant

Eat in the Arts District.

AE 44 Creative Campus

Gentrify the Arts District.

Like I said, we ended up back at 800 Traction. A number of the artists who live in this building have been here for decades. Some were among the first wave of artists to move to the area back when it was more or less a decaying industrial ghost town. And most of the current residents at 800 Traction are part of the Japanese-American community, which is crucial to this story. This community has hung on in spite of successive waves of forced displacement going back to WWII. In the early part of the 20th century, Little Tokyo stretched far beyond its current boundaries. There were numerous Japanese-owned businesses and Japanese cultural institutions in the area between Alameda and the LA River. The first assault was the internment of Japanese-Americans after Peal Harbor. Since then City Hall has carved out one piece after another. And now these artists, after years of working within the community, are threatened with eviction.

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A performance featuring two of the Downtown elite enjoying a round of golf.

AE 52 Golf 4

They seemed to agree that gentrification wasn’t happening fast enough.

Hanging out with the other party guests, I felt like the room was filled with a kind of giddy energy, but there was also an undercurrent of tension. I spoke with Nancy Uyemura and Jaimee Itagaki, and they gave me the latest news about 800 Traction. The building’s new owners, DLJ Real Estate Capital Partners, had hired a property management firm, Pearson, that seemed intent on sabotaging the gathering. Pearson had called the cops before the party, apparently believing they could shut it down, but it went on as planned. They also sent security guards to keep an eye on the tenants and guests. Harrassment in situations like this is commonplace, and Pearson is doing their best to make things uncomfortable. Uyemura said that the tenants at 800 Traction were told in May that they had to leave, and they were supposed to be out by August. Recently they received an unlawful detainer notice. Their hearing date is in December.

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Protesters gathered at 800 Traction after the parade.

AE 62 Security

I hope the security guards enjoyed the party.

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Artists sketched their take on what’s happening Downtown.

The attempt to evict the artists at 800 Traction is bad enough, but there’s another layer to this story that makes it even more disturbing. DLJ has decided to go through the process of designating the building a Historic-Cultural Landmark, which will enable them to get significant tax breaks for renovating the structure. They hired GPA Consulting to do the research for the nomination. GPA’s report talks at length about the building’s architect and Beaux Arts revival style and the food processing industry. They even mention Al’s Bar and LACE. But somehow they completely avoid any mention of the Japanese-American community that thrived in the neighborhood for decades. They also neglect to mention that the current residents have deep ties to the current Japanese-American community, and that some of them were among the first artists to move to the neighborhood back in the 80s.

In other words, GPA’s report completely whitewashes the community’s history. At the Cultural Heritage Commission (CHC) hearing where the nomination was considered, some attendees pointed this out, among them Dorothy Wong, herself a preservation consultant. Wong was baffled by the fact that the report didn’t refer to Little Tokyo once, and made no mention at all of the Japanese-American artists who had lived and worked at 800 Traction for decades. To their credit, the CHC agreed that the report was incomplete and chose to defer their decision until further work was done.

This may seem like a small victory, but it goes to the heart of what’s happening in Downtown. Ruthless investors are kicking artists and others out of the area so they can turn it into a sanitized, upscale urban destination. The Mayor and the City Council are doing everything they can to help make that happen. The people who have lived and worked in the area for much of their lives, the people who built communities and kept them going through tough times, are being told to leave. And while City Hall makes a great show of preserving historic structures, they’re destroying the communities that gave those structures life.

It’s hard to say whether the artists at 800 Traction and ALMLA will win this battle. They’re a determined group, and they seem committed to fighting til the bitter end. But LA has become increasingly hostile to artists, and the Mayor’s vision for Downtown is all about handing the area over to developers.

What have real estate investors put into this community? Money. What do they want out of it? More money.

What have the artists put into this community? Their lives. And what do they want? To continue working with and for the community, as they’ve been doing for years.

Find out more by following these links.

800 Traction

ALMLA

AE 90 Skel Sun

Commemorating Japanese Internment by Evicting Little Tokyo Artists

Little Tokyo Artists

It’s been 75 years since the US Government issued an order to intern all residents of Japanese descent. DLJ Real Estate Capital Partners is going to commemorate that event in a special way.  The company will soon be evicting the tenants at 800 Traction, another reminder to the residents of Little Tokyo of just how little their lives really mean.

Of course, you hear about evictions all the time in LA, and City Hall has let us know repeatedly that renters are completely disposable when their lives are weighed against investor profits. Mayor Garcetti has used the Department of City Planning like a sharp knife in carving out his radical gentrification agenda, and tenants from Boyle Heights to the beach communities know they have a target on their back.

But still, this case stands out, because of the history involved….

You see, Little Tokyo used to cover a lot more territory than it does now. While 800 Traction is no longer considered part of the district, prior to WWII it fell well within the bounds of the Japanese community. Many Japanese residents lost their homes and businesses because of the internment. City Hall took more land away in the 50s to build Parker Center. More land, more housing, more businesses were lost when (ironically) Japanese corporations moved in during the 70s and 80s. And so over time Little Tokyo has been reduced to a shadow of what it once was.

But there’s another layer to this that makes it even more disturbing. A number of the residents at 800 Traction are Japanese-American artists who’ve been living in the community for decades. They’ve worked with local cultural institutions, creating art for the people who live in Little Tokyo. They have deep roots in the neighborhood and helped create the Downtown art scene when nobody wanted to live there. Many people have pointed out the horrible irony in the fact that real estate interests have spent a fortune on branding the area as the Arts District, all the while kicking out the artists who made the place happen.

The tenants could be forced out by the end of this month. It’s hard to say whether they have any hope of keeping their homes, but it can’t hurt to raise your voice to support them. Please write to Councilmember Jose Huizar, and ask him why he isn’t doing more to protect the artists of 800 Traction against the soulless vampires at DLJ Capital Partners.

Here’s a clear, straightforward subject line.

STOP THE EVICTIONS AT 800 TRACTION!

Councilmember Jose Huizar
councilmember.huizar@lacity.org

And don’t forget to copy Mayor Garcetti, so he understands the damage his gentrification agenda is causing.

Mayor Eric Garcetti
mayor.garcetti@lacity.org

If you want more details, here’s an excellent piece from the Rafu Shimpo.

They Say Gentrify – We Must Unify!

 

Skyscrapers Keep Rising in Downtown, and So Does Crime

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There were a couple of articles in the Downtown News that caught my eye this week. The first was a piece about a 67-story residential tower that’s been proposed for a parcel near Figueroa and Seventh. Developers are falling all over themselves in the rush to build high-end high-rises in the area, and City Hall has been bending over backwards to help them along. The article also mentions a few other skyscrapers that are currently in the pipeline, as the the Downtown development juggeraut keeps rolling along. While it’s conceivable that a few affordable apartments will be tacked on to some of these projects in the course of the bargaining process, the vast majority of these new units will be far beyond the reach of the average Angeleno. Here’s the article if you want to take a look.

Brookfield to Build 64-Story Condo Tower

The other article was about the sharp increase in crime Downtown. For those of you who haven’t been following this issue, crime has increased in many of LA’s neighborhoods in recent years, and Downtown is one of the areas hardest hit. Violent crime in the LAPD’s Central Division is up 8.3% through June 3 compared with the same period in 2015. This includes a 15.7% increase in aggravated assault. Property crimes are up 14%, with a 64% rise in burglaries and thefts from vehicles.

The article acknowledges that rising crime is at least in part due to the fact that the area is seeing an influx of well-to-do residents at the same time that the homeless population continues to rise. In Downtown these days the gap between cozy affluence and desperate poverty is glaringly, disturbingly obvious. As City Hall continues to approve one gleaming skyscraper after another, and takes every opportunity to advertise the booming Downtown scene, its efforts to deal with the growing homeless population are still outrageously inadequate.

It’s not just the current crowd at City Hall that’s to blame for LA’s ongoing homeless crisis. For decades our elected officials have preferred to ignore the problem rather than take steps to address it. Fifty years ago the City’s approach was to try to herd the unsheltered population into Skid Row and keep them contained there. In recent years our elected officials tried more aggressive tactics, confiscating the belongings of people living on the streets and criminalizing homelessness. City Hall only backed off on this approach after losing a series of legal challenges to these practices. And in the meantime, homelessness continued to rise.

Last year it seems the Mayor and City Council finally realized how serious the situation was and how bad it was making them look. There’s been a lot of fanfare about the passage of both Measure H and Measure HHH, which will build permanent supportive housing (PSH) and provide services to treat those with mental health and addiction problems. Certainly this is an important first step, but it’s only a first step. It’ll take years to put the housing and services in place, and it’s hard to say how many units will actually be created. Meanwhile, the 2017 homeless count shows that the population increased from last year’s record high of 28,464 to a new record high of 34,189. A staggering 20% jump.

It’s great that H and HHH passed, but this is far too little, far too late. And still City Hall continues to approve endless luxury high-rises, luring more upscale residents to Downtown. They say they’re concerned about rising crime in the area, but adding more police and encouraging the formation of neighborhood watch groups isn’t going to solve the problem.

City Hall needs to start doing some planning. It needs to step back from the mad rush to build luxury skyscrapers, and start thinking seriously about how to reduce homelessness in Downtown. By now it should be obvious that the “Build, Baby, Build” approach isn’t working. Filling the urban core with high-rises for the rich while people wallow in abject poverty on the streets below has created an unsafe environment for residents and stretched the LAPD’s resources dangerously thin. The Mayor and the City Council need to accept the fact that this strategy is seriously flawed, and scale back further construction until they’ve found a way to create a safer, more equitable environment for EVERYONE who lives Downtown.

You can access the article on rising crime by clicking on the link below. I should point out that the link will take you to an on-line tabloid version of the Downtown News, and you’ll have to flip forward to page 10.

Is Downtown LA Getting More Dangerous?

010

Lost LA through a Camera Lens

00 Exiles Dntn

A view of Downtown circa 1960 from The Exiles.

Los Angeles has changed a lot over the past hundred years. Rapid population growth, rampant real estate speculation and a slew of technological advances have caused the city to expand and mutate with amazing speed. And one of the most interesting things about LA is that it has recorded those changes since almost the beginning of the 20th century. As the center of the global film industry, and a major hub for all media, it’s always in one spotlight or another. You might say Los Angeles is obsessed with seeing itself in the mirror.

When the film industry first moved west back in the teens, there were a number of production companies shooting silent two-reelers on LA’s streets. Nobody was thinking about documenting the city as it was beginning to grow. Location shooting was just a cheap way to make movies. Hollywood silents made before 1920 are filled with scenes of the city’s early days, but because there hadn’t been much development and few of the familiar landmarks existed, it’s often hard to identify the streets and neighborhoods that appear in the background.

In the 20s Hollywood became studio bound, and for about two decades location shooting was the exception rather than the norm. But in the 40s studio crews started to venture back out into the streets. Many of the crime films shot after WWII used LA as a backdrop for the action. In the 60s, independent filmmakers started shooting all kinds of movies on the city’s streets. By the 80s filmmakers had begun to use the city self-consciously, making deliberate references not just to the city’s past but to its movie past.

Looking at the films shot over the years on LA’s streets we can see a broad panorama of the city’s history, but one that’s still maddeningly incomplete. While some locations appear over and again, there are whole communities that never appear at all. And so much of it is totally random. In a few cases filmmakers deliberately set out to take a good, hard look at the landscape and the people. Others focussed on famous landmarks that have a specific meaning for movie audiences, or used their settings to evoke nostalgia. And others just didn’t have the money to shoot anywhere else and let their location scout call the shots.

I watch a lot of movies, and as I’ve gotten older, I’m more aware than ever of how they reflect the changes that have happened over the course of LA’s history. I’m especially fascinated by images of things that no longer exist. Change is inevitable. The city’s landscape is never the same from one day to the next. Even when the streets and structures stay the same, the people, the customs, the culture keep changing, and that transforms the landscape, too.

In this post I’m pulling together images of places and spaces that have disappeared. I’ve been thinking about doing something like this for a while. It took me months to get around to it. I spent a lot of time trying to figure out which movies to focus on, but I can’t even explain why I ended up choosing these six. The only thing they have in common is that they show pieces of LA that no longer exist. And trying to approach them in some kind of order was impossible. Or maybe better to say there were too many possibilities. Should I have organized them by the year the films were made? Or maybe used the locations to tell some kind of story? Or should I have tried to find a theme that ties them all together?

In the end I just decided to dive in and let my intuition guide me. This post may not even make sense, but hopefully you’ll get something out of the images. Let’s start in Downtown….

In the late 50s, Kent Mackenzie began working on a film set in Bunker Hill that focussed on the Native American community living in the area. The Exiles took over three years to make, and the production had more than its share of problems, but the end result was a unique blend of documentary and fiction that gave voice to people whose voices had never been heard before. Bunker Hill began in the 19th century as one of the city’s first upscale developments. By the middle of the 20th century the rich were long gone, and the aging homes that remained now housed a diverse low-income community. The Native Americans who lived there had left the reservations behind, looking for a different kind of life. In LA they were relegated to the margins of society, but living in Bunker Hill they at least had some kind of community. That lasted until City Hall declared the area “blighted”, and began pushing residents out as civic leaders and business interests pursued a massive redevelopment project.

01 Exiles AF Morn

Angel’s Flight climbing Bunker Hill next to the Third Street Tunnel.

02 Exiles AF 1

A closer shot of Angel’s Flight with apartments in the background.

The Exiles captures the lives of three Native Americans as they live through a single night in Downtown LA. Shot entirely on location, it shows these people in their homes, on the streets, in bars and juke joints, and finally gathering on a hill that looks out over the nighttime landscape. It’s a vivid picture of a vanished world.

03 Exile3 Homes 1

One of the vanished streets of Bunker Hill.

Displacement is a recurring theme that runs through the whole history of Los Angeles. The city’s original Chinatown was situated on the edge of Downtown, straddling Alameda between Aliso and Macy (now Cesar Chavez Avenue). But in the 20s voters approved funds for a new rail terminal, and much of the Chinese community had to relocate to make way for Union Station.

In the late 40s Anthony Mann made a startling series of thrillers, often giving them a sense of immediacy by shooting on real locations. Much of T-Men is shot in LA, and it features glimpses of what was left of Chinatown in 1947. Check out this first still, which shows a determined US Treasury agent walking across Alameda with Union Station in the background.

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Dennis O’Keefe crossing Alameda Street in T-Men.

Then the camera pans to follow him, and on the west side of Alameda we see Ferguson Alley, a remnant of the original Chinese community.

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Ferguson Alley, one of the last remnants of LA’s original Chinatown.

Our hero visits a number of herbalists looking for someone who recalls selling a specific blend to a certain man. It’s a brief montage, but it gives us a look at what was left of early Chinatown after WWII. Eventually, these buildings were also levelled. After some false starts, a new, more modern, and more touristy, Chinatown was built to the north and west of the original site.

12 TM Ferg 3

O’Keefe mounts the stairs to an herbalist’s shop.

Crime Wave, directed by André de Toth, was also shot largely on location and gives a sweeping view of Los Angeles in the 50s. While it features a number of Downtown locales, the climactic bank heist takes place across the LA River in Glendale. The suburbs were thriving in the first decade after the war, and the film gives us a view of what Brand Boulevard looked like back in the day. In this scene we’re riding with Gene Nelson and Ted de Corsia as they drive up to the Bank of America at the corner of Brand and Broadway.

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The Bank of America at Brand and Broadway in Glendale.

The suburbs were a product of car culture, and cars are central to the story. The main character is an ex-con who’s forced to become the gang’s getaway driver. The scenes before and after the robbery offer numerous shots from the perspective of the man behind the wheel. And an abandoned car serves as an important key in the cops’ search to track down the criminals.

21 CW Dentist

The corner of Brand and Broadway.

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Ted de Corsia inside the Bank of America.

Crime Wave is tough as nails and brimming with tension, but even if you’re not into classic crime flicks, it’s worth watching for the way it maps out the city in the 50s. The final car chase more or less follows the actual path you’d take from Glendale back to Downtown, speeding down Brand toward the Hyperion Bridge.

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Another shot of Brand near Broadway.

By the late 60s suburbia had spread across the San Fernando Valley. Car culture played a major role in the rapid proliferation of housing tracts tied together by the ever expanding freeway system. Thousands of families moved to the suburbs in pursuit of a placid and prosperous lifestyle.

Which was an illusion. You can escape the city, but you can’t escape reality. The US was going through a violent upheaval, rocked by a string of political assassinations and a growing protest movement. Director Peter Bogdanovich looked past the supermarkets and the swimming pools and saw a side of the suburbs that most people were determined to ignore. Bogdanovich had been doing odd jobs for low-budget director/producer Roger Corman. Through Corman he got a chance to direct his first feature, Targets. The film follows a young man living with his parents and his wife in a tidy little house in the Valley, who one day picks up a gun and starts shooting people.

Targets is an innovative and unnerving look at the suburbs, America’s obsession with guns, and our twisted relationship with the movies. After following the young killer as he randomly picks off a number of unsuspecting victims, Bogdanovich stages a chilling climax that offers a complex reflection of the American landscape at the time. Cars lined up in rows at a drive-in movie, moms, dads, children and teens watching a horror flick unfold, when suddenly a sniper starts shooting at the audience from behind the screen.

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The marquee at the Reseda Drive-In.

The film was shot at the Reseda Drive-In, which was located at the corner of Reseda and Vanowen. It survived into the 70s, when it was torn down and replaced by a business park. Aside from the fact that it’s an arresting and original debut feature (one of Bogdanovich’s best), Targets also offers a fascinating glimpse of the vanished world of drive-in theatres. Passionately devoted to movies since childhood, the director records every aspect of the experience, from the people visiting the snack bar to the projectionist putting the reels in motion.

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The drive-in before the show starts.

32 Targ Playground

The playground near the screen.

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The snack bar.

34 Targ Booth

The projectionist setting the film in motion.

Hollywood has always been shameless about the strategies it uses to lure audiences to the movies. Two of the most common tactics are jumping on whatever fad is currently sweeping the nation, and exploiting people’s nostalgia for a past that never existed. Xanadu tries to do both at the same time. The story follows the efforts of two men, inspired by a muse, who come together to create a new nightclub that will bring back the glory of the big band era while catering to the roller disco crowd. Yeah, it’s a pretty strange movie, and one that will probably only appeal to those with a taste for bizarre kitsch. But I found out that parts of it were shot at the Pan-Pacific Auditorium, and decided I had to check it out.

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The front of the Pan-Pacific Auditorium.

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A closer shot of the Pan-Pacific.

For years the Pan-Pacific was a major venue, hosting car shows, sporting events and the Ice Capades. Designed by the firm of Wurdeman and Becket, the striking streamline moderne facade was one of LA’s architectural landmarks for decades. But it closed in the 70s, and though it was later listed on the National Register of Historic Places, no one was able to find a way to make it viable again. It was destroyed by fire in 1989.

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Another view of the Pan-Pacific.

It’s possible that if the Pan-Pacific had survived a while longer, it might have been revived. The local preservation movement was just taking shape in the 80s. But for years Los Angeles was seen as a city without a history, in large part because the people who lived here didn’t have a sense of its history. Buildings were put up and knocked down based on whatever the market dictated, and few people worried about what was lost in the process. Visitors from other places talked about how the city felt impermanent, and complained about a sense of rootlessness.

Having lived here all my life, I don’t see it that way, and I’ve had a hard time understanding what people from other places are talking about. But I think I got a taste of it the last time I watched Wim Wender’s The State of Things. It tells the story of a director shooting a sci-fi film in Europe whose funding dries up, and he flies to LA to get some answers. Friedrich picks up a rental car at LAX and sets out to track his producer down, speeding along the the endless freeways, cruising the wide boulevards of Hollywood and Century City. He seems lost, totally disconnected from the city around him. Watching the film again recently I think I began to understand the sense of disclocation so many complain about. Friedrich is just one more in a long line of European filmmakers who have found themselves wandering LA’s vast landscapes, squinting into the sun as they try to make sense of it all.

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Friedrich, played by Patrick Bauchau, cruising down the freeway in a rental car.

Many of LA’s buildings were never meant to be permanent. They were constructed by people who saw a market for a product and moved quickly to jump on whatever trend was popular at that moment. The roadside restaurants and coffee shops that started springing up after WWII weren’t meant to last forever. They were meant to catch a driver’s attention and pull them in before they sped past. The commercial architects who worked on these projects in the 50s quickly realized that the more extravagant and unusual a building was, the more likely it was to draw people in. The building became its own advertisement.

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Tiny Naylor’s at the corner of Sunset and La Brea.

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Bauchau orders a cup of coffee from a car hop.

As I said, nobody thought these structures would last through the ages. But as the years wore on, architects and critics began to value these brash, flashy buildings. And the people who had frequented these places had gotten attached to them. In the 60s if a developer had levelled one of these coffee shops, nobody would have batted an eye. By the 90s, preservationists were arguing that they held a special place in the area’s culture and should be protected.

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Another shot of Tiny Naylor’s.

That was too late for Tiny Naylor’s, located at Sunset and La Brea. The building, a Googie masterpiece by architect Douglas Honnold, was designed so that people could park outside and be served in their cars, a common feature of coffee shops from the era. The State of Things, released in 1982, captures Tiny Naylor’s in all its glory. A few years later it was torn down and replaced with a shopping mall.

The argument over what should be saved and what should be torn down will go on for as long as LA exists, and that’s part of the dynamic of any urban area. Cities are formed by the tension between the past and the future. LA will go on changing. And the movies will go on watching it change.

53 SoT Office

Bauchau in an office building at Sunset and Vine, gazing at the LA landscape as it stretches out to the horizon.

 

Protest to Save the Planet

MS 01 Crowd 3

The vast majority of climate scientists agree that climate change is a threat and that it’s caused by human activity. But the White House is determined to ignore that threat, and has taken steps to back away from agreements the US has signed to reduce global warming. On top of that, the new administration has proposed to cut the Environmental Protection Agency’s budget by almost a third, and roll back regulations designed to protect our air and water.

But scientists are fighting back. Last Saturday was Earth Day, and to push back against Washington’s assault on the environment a broad coalition of academics and activists organized the March for Science. All across the country Americans gathered in cities big and small to speak out in favor of protecting the planet.

When I got off the subway at Fifth and Hill the streets were already packed.

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The street was jammed when I arrived.

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Glad to know it was okay to take photos.

MS 13 Misc Kitty

Even Hello Kitty fans turned out to protest.

MS 14 Crowd Flowers

The sidewalks were so crowded it wasn’t always easy to get around.

I could hear people speaking over a PA in Pershing Square, so I headed over there. The crowd was so thick I couldn’t get near the stage, so I wandered around and snapped a few photos.

MS 20 Crowd Orange

I couldn’t get near the stage in Pershing Square…

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…so I made my way through the throng…

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…to another part of the plaza…

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…where I ran into Santa Claus.

Here are a few signs that jumped out at me.

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My favorite sign of the day.

MS 32 Sign Beer

The scariest sign of the day.

MS 34 Sign Sign

The most honest sign of the day.

Finally the march got started. A huge crowd headed up Hill Street and then over to City Hall.

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The crowd getting ready to march.

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Protesters made their way up Hill Street.

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Another shot of the march.

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And yet another shot of the march.

Earth Day is over, but the fight is just starting. We need to speak out loudly against policies that put profit ahead of the planet. To learn how you can get involved, visit the March for Science web site.

March for Science

MS 70 Crowd St V

A Crash Course in Asian American Activism

CAM 01 Ext Sign Stand

A while ago I read in the LA Weekly that the Chinese American Museum was presenting an exhibit about the Asian American activist movement from the 60s through the 80s.  It caught my attention for two reasons.  First, I had no idea that Asian Americans played a significant part in that era’s counterculture.  Second, I didn’t even know we had a Chinese American Museum in LA.  So I figured it was time to learn more about both.

It was well worth taking the trip to Downtown.  The museum is in a historic building just off the plaza at El Pueblo de Los Angeles.  Before I even got to the exhibition about Asian American activism, I spent some time with two smaller shows on the ground floor.  Journeys and Origins deal with Chinese migration to the US and the formation of Chinese communities in LA.  These shows are small, but beautifully put together, with a rich collection of artifacts.

CAM 10 Imm Room

Exhibits on the first floor document Chinese migration to the US.

CAM 12 Imm Page

Documents and photos help tell the story.

CAM 14 Imm Chairs

Furniture, cookery, toys and textiles are featured.

CAM Imm Abacus

Does anyone under 40 even know what an abacus is?

Then I went upstairs to check out the main attraction, Roots, Asian American Movements in Los Angeles, 1968-80s.

CAM 20 Rts Title

This show was a real eye opener.  Like I said before, I had no idea Asian Americans were so much a part of the counterculture in the 60s and 70s.  In one respect what they accomplished is even more impressive than the Black and Latino movements, because the Asian community was so much more diverse.  Activists representing Japanese, Korean, Chinese, Filipino and other cultures made a conscious effort to work together to push for change.  These groups did not have a shared history, and at times had been bitterly divided, but they realized they had a better chance of being heard if they spoke with one voice.

CAM 22 Rts Shirts

Silkscreened T-shirts were one way of spreading the message.

CAM 23 Rts Buttons

Activists worked to address a variety of issues.

CAM 24 Rts Records

Music was another way of reaching out.

CAM 26 Rts Gidra

Gidra published news, commentary and art from 1969 through 1974.

CAM 28 Rts X

Come-Unity promoted cooperation across racial boundaries.

In the 60s pop culture was exploding, and members of the movement recognized that mass media was a powerful tool for getting the word out.  The show includes records, magazines, posters and other artifacts from the era.  Staging concerts, printing posters and making T-shirts helped spread awareness beyond the community.  While these activists addressed issues that affected Asian Americans, they also reached out and forged bonds with the wider protest movement.  It was a time when boundaries were being erased, and people of all kinds were coming together to address the problems facing the country.  If only we could revive that spirit these days.

The show runs through June 11, 2017.  If you want more info, here’s the link.

Chinese American Museum

CAM 50 Rts Posts

Post-it notes left by museum visitors.