Crime and Real Estate Development in Downtown Los Angeles [An Experiment in Real Time]
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Historic-Cultural Monument (HCM) List City Declared Monuments
Historic-Cultural Monument (HCM) List City Declared Monuments No. Name Address CHC No. CF No. Adopted Community Plan Area CD Notes 1 Leonis Adobe 23537 Calabasas Road 08/06/1962 Canoga Park - Winnetka - 3 Woodland Hills - West Hills 2 Bolton Hall 10116 Commerce Avenue & 7157 08/06/1962 Sunland - Tujunga - Lake View 7 Valmont Street Terrace - Shadow Hills - East La Tuna Canyon 3 Plaza Church 535 North Main Street and 100-110 08/06/1962 Central City 14 La Iglesia de Nuestra Cesar Chavez Avenue Señora la Reina de Los Angeles (The Church of Our Lady the Queen of Angels) 4 Angel's Flight 4th Street & Hill Street 08/06/1962 Central City 14 Dismantled May 1969; Moved to Hill Street between 3rd Street and 4th Street, February 1996 5 The Salt Box 339 South Bunker Hill Avenue (Now 08/06/1962 Central City 14 Moved from 339 Hope Street) South Bunker Hill Avenue (now Hope Street) to Heritage Square; destroyed by fire 1969 6 Bradbury Building 300-310 South Broadway and 216- 09/21/1962 Central City 14 224 West 3rd Street 7 Romulo Pico Adobe (Rancho 10940 North Sepulveda Boulevard 09/21/1962 Mission Hills - Panorama City - 7 Romulo) North Hills 8 Foy House 1335-1341 1/2 Carroll Avenue 09/21/1962 Silver Lake - Echo Park - 1 Elysian Valley 9 Shadow Ranch House 22633 Vanowen Street 11/02/1962 Canoga Park - Winnetka - 12 Woodland Hills - West Hills 10 Eagle Rock Eagle Rock View Drive, North 11/16/1962 Northeast Los Angeles 14 Figueroa (Terminus), 72-77 Patrician Way, and 7650-7694 Scholl Canyon Road 11 The Rochester (West Temple 1012 West Temple Street 01/04/1963 Westlake 1 Demolished February Apartments) 14, 1979 12 Hollyhock House 4800 Hollywood Boulevard 01/04/1963 Hollywood 13 13 Rocha House 2400 Shenandoah Street 01/28/1963 West Adams - Baldwin Hills - 10 Leimert City of Los Angeles May 5, 2021 Page 1 of 60 Department of City Planning No. -
08-25 Grow Local
Orange County Review inSIDEr, August 25, 2011 in Some vegetable stands do not sell locally watermelons! Seriously, the Chinese are inject- Plant, till, harvest, sell, buy, eat grown produce. They buy it from wholesalers, ing watermelons with some sort of growth sub- and they are not listed in the guide. Wiley stance that makes some of them explode. You says, with these sellers, just ask; they'll tell you will not find one exploding watermelon at The where the produce comes from. And keep an Garden Patch. None of the pork coming out of SIDE eye out for dead giveaways, "products out of Retreat Farm is toxic. You will not get food poi- LOCAL season," such as tomatoes in April. soning from eating Tree and Leaf's leafy greens. There are a lot of enduring reasons to buy Are we self-sufficient locally? Molly Visosky We've seen the bumper fresh, buy local. One of them is travel distance. says we have the potential to be. She started stickers. We've opened our According to the Leopold Center for Sustainable the first locally grown gourmet produce distribu- mailbox to find the Buy Agriulture at Iowa State, locally produced food torship in this area three years ago, known as Fresh, Buy Local annual travels an average of 56 miles before it reaches Fresh Link. The name says it all. She's the link guide. New local pick-your- the consumer. Non locally produced food trav- between producers in Orange, Madison, and own outlets have sprouted els 1,494 miles or 27 times further. -
CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey -
The Future of Historic Preservation in Blighted Areas: Effects of the Abolishment of Redevelopment Agencies in California
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2012 The Future of Historic Preservation in Blighted Areas: Effects of the Abolishment of Redevelopment Agencies in California Lauro Alonso Parra University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Parra, Lauro Alonso, "The Future of Historic Preservation in Blighted Areas: Effects of the Abolishment of Redevelopment Agencies in California" (2012). Theses (Historic Preservation). 204. https://repository.upenn.edu/hp_theses/204 Suggested Citation: Parra, Lauro Alonso (2012). The Future of Historic Preservation in Blighted Areas: Effects of the Abolishment of Redevelopment Agencies in California. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/204 For more information, please contact [email protected]. The Future of Historic Preservation in Blighted Areas: Effects of the Abolishment of Redevelopment Agencies in California Abstract Redevelopment agencies play a major role in the preservation or destruction of historic buildings. When considering the benefits of preservation, we not only consider the protection of buildings for history's sake; but its usage has become more evident as a form of economic growth. During 2011, in efforts to balance the budget in the state of California, Governor Brown proposed abolishing -
I Know Why the Caged Bird Sings by Maya Angelou
y f !, 2.(T I Know Why the Caged Bird Sings MAYA ANGELOU Level 6 Retold by Jacqueline Kehl Series Editors: Andy Hopkins and Jocelyn Potter Contents page Introduction V Chapter 1 Growing Up Black 1 Chapter 2 The Store 2 Chapter 3 Life in Stamps 9 Chapter 4 M omma 13 Chapter 5 A New Family 19 Chapter 6 Mr. Freeman 27 Chapter 7 Return to Stamps 38 Chapter 8 Two Women 40 Chapter 9 Friends 49 Chapter 10 Graduation 58 Chapter 11 California 63 Chapter 12 Education 71 Chapter 13 A Vacation 75 Chapter 14 San Francisco 87 Chapter 15 Maturity 93 Activities 100 / Introduction In Stamps, the segregation was so complete that most Black children didn’t really; absolutely know what whites looked like. We knew only that they were different, to be feared, and in that fear was included the hostility of the powerless against the powerful, the poor against the rich, the worker against the employer; and the poorly dressed against the well dressed. This is Stamps, a small town in Arkansas, in the United States, in the 1930s. The population is almost evenly divided between black and white and totally divided by where and how they live. As Maya Angelou says, there is very little contact between the two races. Their houses are in different parts of town and they go to different schools, colleges, stores, and places of entertainment. When they travel, they sit in separate parts of buses and trains. After the American Civil War (1861—65), slavery was ended in the defeated Southern states, and many changes were made by the national government to give black people more rights. -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Spring 2016 Issue
palaver e /p ‘læve r/ n. A talk, a discussion, a dialogue; (spec. in early use) a conference between African tribes-people and traders or travellers. v. To praise over-highly, flatter; to cajole. To persuade (a person) to do something; to talk (a person) out of or into something; to win (a per- son) over with palaver. To hold a colloquy or conference; to parley or converse with. © Palaver. Spring 2016 issue. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, without prior written permission from Palaver. Rights to individual submissions remain the property of their authors. Graduate Liberal Studies Program University of North Carolina Wilmington 105 Bear Hall Wilmington, NC 28403 www.uncw.edu/gls Masthead | Spring 2016 Founding Editors Copy Chiefs Contributing Editors Sarah E. Bode John Dailey Dr. Josh Bell Ashley Elizabeth Hudson Mikkel Lysne Michelle Bliss Melissa Slaven-Warren Sarah E. Bode Executive Editor Dr. Theodore Burgh Patricia Turrisi Staff Lauren B. Evans Holli Terrell-Cavalluzi Dr. Carole Fink Editor-in-Chief Jonny Harris Courtney Johnson Ashley Elizabeth Hudson Travis Henry Katja Huru Linda McCormack Rebecca Lee Managing Editor Janay Moore Johannes Lichtman Erin Ball Dr. Marlon Moore Dr. Diana Pasulka Layout Editors Dr. Alex Porco Ashley Elizabeth Hudson Nick Rymer Erin Ball Dr. Michelle Scatton-Tessier Dr. Anthony Snider Layout Assistant Erin Sroka Gabe Reich Dr. Patricia Turrisi Cover Art: “The Indistinct Notion of an Object Trajectory” by Ryota Matsumoto Back Cover Art: “Surviving in the Multidimensional Space of Cognitive Dissonance” by Ryota Matsumoto Thank you to the Graduate Liberal Studies Program at UNCW for letting us call you home. -
John Valadez Interviewed by Karen Mary Davalos on November 19 and 21, and December 3, 7, and 12, 2007
CSRC ORAL HISTORIES SERIES NO. 10, DECEMBER 2013 JOHN VALADEZ INTERVIEWED BY KAREN MARY DAVALOS ON NOVEMBER 19 AND 21, AND DECEMBER 3, 7, AND 12, 2007 John Valadez is a painter and muralist. A graduate of East Los Angeles College and California State University, Long Beach, he is the recipient of many grants, commissions, and awards, including those from the Joan Mitchell Foundation, the California Arts Commission, and the Fondation d’Art de la Napoule, France. His work has appeared in exhibitions nationwide and is in the permanent collection of major museums; among them are National Museum of American Art at the Smithsonian, Bass Museum of Art in Miami Beach, Museum of Contemporary Art San Diego, Mexican Museum in Chicago, and Los Angeles County Museum of Art. Valadez lives and works in Los Angeles. Karen Mary Davalos is chair and professor of Chicana/o studies at Loyola Marymount University in Los Angeles. Her research interests encompass representational practices, including art exhibition and collection; vernacular performance; spirituality; feminist scholarship and epistemologies; and oral history. Among her publications are Yolanda M. López (UCLA Chicano Studies Research Center Press, 2008); “The Mexican Museum of San Francisco: A Brief History with an Interpretive Analysis,” in The Mexican Museum of San Francisco Papers, 1971–2006 (UCLA Chicano Studies Research Center Press, 2010); and Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001). This interview was conducted as part of the L.A. Xicano project. Preferred citation: John Valadez, interview with Karen Mary Davalos, November 19 and 21, and December 3, 7, and 12, 2007, Los Angeles, California. -
Los Angeles City Planning Department
Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2016-398-HCM ENV-2016-399-CE HEARING DATE: February 18, 2016 Location: 510-514 S. Broadway TIME: 10:00 AM Council District: 14 PLACE: City Hall, Room 1010 Community Plan Area: Central City 200 N. Spring Street Area Planning Commission: Central Los Angeles, CA Neighborhood Council: Downtown Los Angeles 90012 Legal Description: Subdivision of the North Part of Block 13, Ord’s Survey, Lot 3 PROJECT: Historic-Cultural Monument Application for the FORVE-PETTEBONE BUILDING REQUEST: Declare the property a Historic-Cultural Monument OWNER/ Daniel Neman, 5ten Broadway, LLC APPLICANT: 1525 S. Broadway Los Angeles, CA 90015 PREPARER: Suki Gershenhorn, Chattel, Inc. 13417 Ventura Blvd. Sherman Oaks, CA 91423 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings. VINCENT P. BERTONI, AICP Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Shannon Ryan, City Planning Associate Office of Historic Resources Attachments: Historic-Cultural Monument Application CHC-2016-398-HCM 510-514 S. Broadway Page 2 of 3 SUMMARY Located on the east side of south Broadway, between Fifth and Sixth Streets, the Forve- Pettebone Building is a five-story, brick commercial vernacular building built in 1905. -
“500 Days in Downtown L.A.” Walking Tour
“500 DAYS IN DOWNTOWN L.A.” WALKING TOUR Selected historic locations from the 2009 Fox Searchlight film “(500) Days of Summer” For much more information about the rich history of this area, including these and other landmarks, take the Los Angeles Conservancy’s walking tour, Downtown Renaissance: Spring & Main. For details, visit laconservancy.org/tours [Suggested route] Start at: SAN FERNANDO BUILDING 400 South Main Street (at Fourth Street) Original Building: John F. Blee, 1907 Addition (top two stories): R. B. Young, 1911 Los Angeles Historic-Cultural Monument #728 Listed in the National Register of Historic Places In the film, Old Bank DVD serves as the video & record store. • Designed in the Renaissance Revival style • Commissioned by James B. Lankershim, one of the largest landholders in California (his father Isaac helped develop the San Fernando Valley for farming) • Originally had a café, billiard room, and Turkish bath in the basement for tenants • Achieved local attention in 1910, when a series of police raids occurred on the sixth floor due to illegal gambling in the rooms • Redeveloped by Gilmore Associates; reopened in 2000 as seventy loft- style apartments—one of the early projects that sparked downtown’s current renaissance Look diagonally across Main Street (northwest corner of Fourth & Main): “500 Days in Downtown L.A.” Walking Tour Page 1 of 6 VAN NUYS HOTEL (Barclay Hotel) 103 West Fourth Street Morgan and Walls, 1896 Los Angeles Historic-Cultural Monument #288 In the film, the Barclay lobby serves as the hangout for -
Amended Judgment (Pdf)
Case 2:12-cv-00551-FMO-PJW Document 608 Filed 12/13/17 Page 1 of 2 Page ID #:9492 1 2 3 4 5 6 UNITED STATES DISTRICT COURT FOR THE 7 CENTRAL DISTRICT OF CALIFORNIA (WESTERN DIVISION) 8 9 10 INDEPENDENT LIVING CENTER OF ) Case No.: 12-CV-00551 FMO (PJWx) 11 SOUTHERN CALIFORNIA, et al. ) ) 12 Plaintiffs, ) AMENDED JUDGMENT PURSUANT 13 ) TO CORRECTED SETTLEMENT vs. ) AGREEMENT BY AND BETWEEN 14 ) ) CITY OF LOS ANGELES AND 15 CITY OF LOS ANGELES, ) PLAINTIFFS 16 CALIFORNIA, and COMMUNITY ) REDEVELOPMENT AGENCY OF THE ) 17 CITY OF LOS ANGELES, ) ) 18 Defendants. ) ) 19 20 21 WHEREAS, the City of Los Angeles, a defendant in this action (the 22 “City”) and the Independent Living Center of Southern California (“ILCSC”), the 23 Fair Housing Council of the San Fernando Valley (“FHC”) and Communities 24 Actively Living Independent and Free (“CALIF”) (collectively referred to herein as 25 “Plaintiffs”) have entered into a Corrected Settlement Agreement; and 26 WHEREAS, the Court has jurisdiction over the subject matter of this 27 action, the Plaintiffs, the City, and the Corrected Settlement Agreement; and 28 ILC, et al v. City of Los Angeles, et al., Case No. 12-CV-551 FMO (PJWx) AMENDED JUDGMENT PURSUANT TO CORRECTED SETTLEMENT AGREEMENT Case 2:12-cv-00551-FMO-PJW Document 608 Filed 12/13/17 Page 2 of 2 Page ID #:9493 1 WHEREAS, upon consideration, the Court finds the Corrected 2 Settlement Agreement to be fair, reasonable, and adequate. 3 NOW, THEREFORE, IT IS HEREBY ORDERED, ADJUDGED 4 AND DECREED AS FOLLOWS: 5 1. -
Oral History Interview with James Carpenter, 2008 February 25
Oral history interview with James Carpenter, 2008 February 25 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with James Carpenter on February 25, 2008. The interview took place at the artist's studio in New York, New York, and was conducted by Jo Lauria for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. James Carpenter and Jo Lauria have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JO LAURIA: Interview for the Archives of American Art, February 25 [, 2008], Monday, at James Carpenter Design Studio. Interview with James Carpenter by Jo Lauria. So James, would you just pronounce the way you'd like your - JAMES CARPENTER: Sure, James Carpenter. MS. LAURIA: Okay. And today we're at your design studio here in New York at 145 Hudson Street, and we'll just start with the basic questions. Where and when were you born? MR. CARPENTER: I was born in Washington, D.C., in 1949, Walter Reed Army Hospital.