Tag Archives | Los Angeles

Southern California Stories

I’m working on private writing assignments and creating some summer lessons but I’ve gathered a few links to recent Southern California-themed articles for those who might be interested and may have missed reading them online or in the newspaper. My exclusive interview with the Ayn Rand Institute’s new CEO, Jim Brown, who talked with me at his Irvine office about management, including what he’s learned from serving in the United States Air Force, was published in the Los Angeles Times Orange County edition; you can read it here. Brown, whom I think is planning to attend and address next month’s OCON in Pittsburgh, names his favorite Ayn Rand lecture and works by longtime Orange County resident and ARI founder Leonard Peikoff. Brown also identifies what he considers the institute’s greatest success.

The head of another Southern California institute, the newly formed Institute for the Study of Los Angeles (ISLA), recently sat down with me at the host campus quad at Occidental College for a wide-ranging interview about plans for the future. Professor Jeremiah Axelrod discussed his family’s unique migration to LA from Alabama, restrictive covenants and the top places to visit in LA in my exclusive new piece about his thoughts and interesting historical facts about the region. The article, which runs this week, is available to read here.

One sordid chapter in LA history is the serial crimes by the Hillside Stranglers, which was integral to the downfall of one of the city’s first prominent shopping malls. I recently profiled Eagle Rock Plaza, which has since been nicknamed the Mall of Manila but was once a popular attraction for events featuring a teen idol, Olympic gold medalist and a movie starlet. Tenants over the years included Howard Johnson’s, May Company, The Wherehouse, See’s Candies, Bob’s Big Boy, Baskin-Robbins and Vroman’s Bookstore. Before the mall opened, local LA residents were so excited, they demanded to have “Eagle Rock” put in its name and the city of Glendale was so nervous about losing tax revenue to the competition that the local government mandated free downtown parking — before Eagle Rock Plaza even opened. But when two serial rapists and murderers showed up, posing as policemen, stalking a bus stop by the shopping center and picking up their youngest victims there, business slowed. Read the shopping center story here.

Event Review: Festival of Books

The 22nd annual Los Angeles Times Festival of Books is a unique combination of book sales, signings and promotional events. I’ve attended for years and, still, I enjoy it while acknowledging its deficiencies. My top complaint is the same as always: volunteers, event staff, venue staff and security are poorly equipped and trained to direct the over 150,000 people who come to the University of Southern California campus. Event maps are lacking. One volunteer in a festival information booth gave me the wrong directions to the Salvatori Computer Science Center, not to be confused with an arts and letters building donated by a Salvatori with that name emblazoned on it. Getting around the festival, important if you favor lectures and panel discussions as I do, gets worse every year (read my thoughts on last year’s festival here).

Once at the destination, which could be anywhere around USC’s wonderful campus near downtown Los Angeles, you’re often afforded outstanding opportunities to listen, learn, ponder, explore and examine the world of books and ideas. I spent much of the two-day weekend event roaming around booths, visiting small university presses, independent booksellers, university writing programs, USC’s many schools’ showcases and booths for various authors, theaters, publications, schools and products, from Atheists United, Titanium sponsor Acura dealers of Southern California and the Ayn Rand Institute to author Zoe Summer and YaYa’s Creole Products. Add music—the Trojans’ marching band is always a favorite—cooking and kids’ areas, and C-Span’s Booknotes interviews and scads of other contests, prizes and free samples, from books and prints to power bars and bags (which come in handy with California’s plastic bag ban, which amounts to a tax) and the book fair truly is a festival. Subtract the presence of book publishers that dominated early festivals, however, and there are fewer and fewer books, especially new, major books and authors.

I had previously attended a conversation with author Glenn Frankel at an event at the Autry Museum of the American West in LA’s Griffith Park several weeks ago. His book about High Noon and what he and many others in Hollywood refer to as the blacklist (Hollywood’s highly touted 1950s’ blackballing of presumed Communists or Soviet sympathizers, not the list of unmade scripts) makes Frankel, who won a Pulitzer Prize for international reporting and worked for the Washington Post, an attractive guest speaker. So, I already knew that Frankel, who also taught journalism at Stanford and the University of Texas, knows his subject well. He’d told the Autry audience, for instance, that High Noon was shot in 32 days on a low budget, that screenwriter Carl Foreman was called to testify to a congressional committee about his membership in the Communist Party and that star Gary Cooper was the son of British immigrants, that he may have been impacted by childhood visits to Montana’s state house, where he saw a painting of Lewis and Clark, and that he was not very political.

When I saw that Frankel was on a book festival panel on classic Hollywood, I decided to attend. Knowing that, at the Autry, he had dropped the context that the United States was under threat of attack by the Union of Soviet Socialist Republics (USSR), something that people who talk about the Hollywood blacklist usually do, and that we know that the Soviets funded subversive efforts to undermine the U.S. government, I wanted to hear a detailed analysis of classic Hollywood, including the blacklist, through panel discussion.

Instead, the panel was the opposite. Moderated by USC writing instructor, Newsday political cartoonist and author M.G. Lord, who wrote a book on Elizabeth Taylor titled The Accidental Feminist, the panel was a barrage of uncorroborated claims and arbitrary assertions about the blacklist which turned into a political rant against Trump and conservatives with hardly any discussion of classic Hollywood. Author Jon Lewis, a movie professor at Oregon State University, declared that Trump’s election means democracy is dead in America (seriously). Kenneth Turan, the Los Angeles Times film critic, whom apparently everyone calls Kenny, barely spoke about classic film, though he did mention being raised as an Orthodox Jew. Frankel, who is both extremely knowledgeable and fundamentally mistaken in his book’s assertion that Ayn Rand is to blame for what he sees as the injustice of a Hollywood blacklist, gave the most substantial classic Hollywood analysis. Others went for laughs and digs at Trump or the blacklist.

To her credit, Karen Maness, a scenic artist and co-author of The Art of the Hollywood Backdrop and painting instructor for the University of Texas Department of Theatre and Dance and scenic art supervisor at Texas Performing Arts, gave very interesting facts and insights about classic movies’ backdrops.

The classic movies discussion was disappointing but a panel on writing short stories was worse, despite efforts by PEN Center USA literary programmer, author and moderator Libby Flores. Given the team’s credentials, I was astonished that no one really talked about writing short stories. Channelle Benz, who earned her MFA at Syracuse University, has published short stories in The American Reader and is the recipient of an O. Henry Prize. Author Dana Johnson is an English professor at USC and winner of the Flannery O’Connor Award for Short Fiction. Brooklyn writer Rebecca Schiff graduated from Columbia University’s MFA program and her stories have appeared in The Guardian. Deb Olin Unferth, who writes in Austin, Texas, was a finalist for a National Book Critics Circle Award and her work has appeared in Harper’s, the Paris Review, and Tin House. So I was looking forward to a detailed examination of writing short stories. The panel started late and veered into the writers’ rambling thoughts on why they are fascinated by “the color of blood” and admissions and confessions of personal tastes and idiosyncrasies. When I asked if they have an explicit theme in mind when they write a story, only Schiff answered and she didn’t say much. No one else spoke.

Unferth was the most entertaining short stories panelist, using humor to lighten the dense discussion, which did not include mention of a single writing habit. Unferth, who told the audience about a story she wrote in which a shooter contemplates whether to gun down a child at the top of a hill, was asked about the most memorable reader response to her writing. She made the audience laugh when she admitted that a blogger once posted—and apparently kept posting—about how he hated one of her stories, which he wrote was a downer that kept dragging him down. Imagine that.

When Flores asked everyone to name the first story to make an impression, no one could think of a single story to name. At some point, Schiff did manage to credit Kurt Vonnegut with the advice to “make your character want something—even if it’s just a glass of water.”

Titles among their material might have been a cautionary clue that they aren’t terribly interested in breaking down the writing, let alone editing and publishing, process. Benz is the author of The Man Who Shot Out My Eye is Dead. Johnson’s newest book is titled In the Not Quite Dark: Stories. Schiff’s latest book is called The Bed Moved.

Easily the most stimulating panel came late in the festival on Sunday. Whereas the short story writers gave the impression that writing is mysterious, magical and indecipherable, the writers on the “From Page to Screen” panel stressed the opposite idea.

Panelists included Brian McGreevy, author and screenwriter (and co-creator of AMC’s The Son with Pierce Brosnan), who was a James Michener Fellow at the University of Texas. His latest novel is The Lights. Also on board: novelist Tod Goldberg, who wrote novels based on USA Network’s Burn Notice and co-authored the Hammett Prize finalist Gangsterland, for which he’s writing a sequel, Gangster Nation, scheduled for publication this fall; Los Angeles writer Pamela Ribon who recently co-wrote Disney’s Moana and former Dark Shadows actress Lara Parker, author of three novels based on NBC’s cult soap opera, who attended Vassar College, graduated from Rhodes College in Memphis with a BA in philosophy and received her MFA in creative writing from LA’s Antioch University. The moderator, USC writing instructor Richard Rayner, who’s written nine books, including an LA crime history, A Bright and Guilty Place, and an interesting article on Rudyard Kipling, liked to talk more than he liked to let the panelists talk.

When they did, the page-to-screen writers were hilariously insightful and incisive, generously sharing their insecurities, showing their battle scars and being utterly candid in every detail about their writing. Contrary to the painfully pretentious short stories panel, these writers were quite self-aware and purposeful in trying to help the audience grasp the hard work and wrenching business of writing. They fed off of Goldberg’s delightful banter with Ribon, which was at once politically incorrect and perfectly suited to the occasion, delivering with good humor the necessary tips, tools and knowledge to manage Hollywood’s often anti-conceptual handling—more like belittling—of the writer. Goldberg wisely explained that he knows his limits (he didn’t put it this way) by focusing on prose writing. McGreevy had said something similar.

Everything Tod Goldberg said, and he is enormously successful, and, not coincidentally, decent, kind and gracious in person, tracks to not letting the pain of pursuing a livelihood in writing go too deep down into your soul. In his own introverted way, McGreevy, too, let the audience know how to let off steam and cope with adversity in the potentially ruinous page to screen process, alluding to horror stories while delivering a blistering breakdown of the term “showrunner” as a total lie. McGreevy, who explicitly embraced writing’s solitude and said that he really doesn’t like spending a lot of time with people, explained that he studied the creative process from a primarily different orientation—that of the perspective of those titans of the technology industry. He said he read many of their books on being productive and gained real value. He also encouraged writers to take breaks often to give detachment and distance to the material (my writing class students may recognize this particular writing lesson).

Parker shot down the moderator’s attempt to credit her acting with any meaningful tie-in to her writing, crediting her own reading of great works of horror literature, from Mary Shelley’s Frankenstein and Bram Stoker’s Dracula to more recent novels and, finally, her decision to mimic the structure and approach of Daphne Du Maurier (Rebecca, Jamaica Inn). She derided the box office bomb movie version starring Johnny Depp as Barnabas Collins (“Tim Burton is not interested in story”, she said) and, having played a villainess, the witch, she pointed out that the franchise Dark Shadows is a supernatural thriller rooted in serious, universal themes of life and death through gothic romanticism. Asked by Rayner after she griped about having to deliver bad lines as an actress to name the worst line, Parker fingered The Six Million Dollar Man on ABC, in which she played Col. Steve Austin’s love interest who told him at the end of the weekly episode that: “There will always be a candle buring for you in the window, Steve.” To which Mr. Goldberg deadpanned, a moment after audience laughter subsided: “Was this during the Civil War?”

All of which only made this writer want to read their books.

Architecture: Richard Neutra’s Eagle Rock Clubhouse

A recreational city park in northeastern Los Angeles has the distinction of featuring one of the signature buildings by architect Richard J. Neutra (1892-1970). The sleek design for the Eagle Rock Clubhouse, as it was originally known, includes a kitchen, director’s office, athletics court, recreational room and a stage connected to an outdoor amphitheater on a sloping hillside.

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Eagle Rock Clubhouse, photo by Scott Holleran

The primary feature, however, are the athletic court’s walls, which retract to the open air of the surrounding park. Hills, pine trees, shaded walkways, baseball diamonds, picnic areas, a workout and gymnastics area, children’s center, outdoor playground and tennis courts fill out the area, which is just off a freeway between the Los Angeles basin and the San Gabriel Valley in a section of LA known as Eagle Rock. Unfortunately, a reflecting pool was paved over and columns were added by city officials.

Though the clubhouse is badly in need of repair and renovation, and the park, too, needs an upgrade, the wonders of the property come through. Walking on curved, tree-lined paths amid vistas and sounds of a baseball game gives Eagle Rock Recreation Center an old-fashioned air. Toddlers waddled around their parents’ picnics, bachelors played fetch with their dogs and couples played tennis while musclemen worked out on the gymnastics bars, runners jogged and a team of girls played volleyball inside the building. Neither freeway noise nor poor building maintenance completely diminishes the presence of this impressive building, which retains an inviting functionality. Despite the need for landscaping, rebuilding and restoration, one can imagine the calls and cheers of past weddings, proms, games, scout troop meetings, play dates and playhouse productions. Conjuring an outdoor audience attending a play, dance recital or piano concert is easy.

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Eagle Rock Clubhouse, photo by Julius Shulman

When Eagle Rock officially opened the park 62 years ago this fall during the peak of Hollywood’s Golden Age, William Holden (Stalag 17, Picnic, Golden Boy, Sunset Boulevard, Executive Suite, Network) was reportedly on the guest list. Among those in attendance was the young architect Dion Neutra, Richard Neutra’s son, who worked on the project with his father, an icon of modern architecture and 20th century culture. He remembered that day during a recent interview with me for an article about the city’s proposed changes to the recreation center, which he told me he found lacking (read my interview and view recent pictures of Neutra’s clubhouse on the Los Angeles Times‘ website here).

Interviewing Dion Neutra, who turns 90 years old this week, led to a meeting at his home in Silver Lake, where we conducted a more extensive interview about his late father, architecture and career. We talked about the house his father created for director Josef von Sternberg (Shanghai Express) in 1936, which Ayn Rand (The Fountainhead) later lived in during her Southern California years, and his thoughts on Frank Gehry and Frank Lloyd Wright.

Look for the interview soon. In the meantime, I’m told that there may be an effort underway to restore Richard and Dion Neutra’s Eagle Rock clubhouse to its original condition. For Dion Neutra, who told me that he named his father’s clubhouse in his will as a possible memorial site for after he dies, the prospect of total, pure restoration makes the perfect birthday gift in a city of America’s greatest modern arts enriched by Neutra architecture.

LA’s Eagle Rock

The northeastern part of Los Angeles contains a neighborhood known as Eagle Rock with a population of about 30,000. I’ve enjoyed visiting and writing about the hillside section of LA for years. I almost bought a mid-century modern house near there some years ago and I write about Eagle Rock for a newspaper owned by the LA Times.

That’s why I’m disturbed by this week’s reports by the LAPD and an Eagle Rock campus club of an attack on a police vehicle and an apparently unrelated siege against a 9/11 memorial display at a small liberal arts school located there. Both incidents are under investigation.

Eagle Rock is tucked away by Glassell Park, Glendale and Highland Park in the northeast section of the city. Its main artery is Colorado Boulevard, which runs into Pasadena in the San Gabriel Valley where the Tournament of Roses parade strolls every year on New Year’s Day. The boulevard used to be lined with motels, Italian family restaurants and antique shops from Glendale to Eagle Rock before the Colorado Street Bridge.

latimeslobby2016It’s still somewhat like that, though this small and interesting part of LA is changing. Crime has been a problem in Eagle Rock ever since I can remember. Homelessness, too. Pockets of the northeastern section, which, like Los Angeles, is part suburb, part urban, contain a variety of LA points of interest, from the actual hillside ‘eagle rock’ (because it resembles an eagle) for which the neighborhood is named to the 1953 recreation center at 1100 Eagle Vista Drive, conceived and designed by Richard Neutra. The rec center, with Neutra’s retractable walls, includes basketball and tennis courts and areas for children’s play and gymnastics. Its need for improvement is among several topics addressed at last week’s local council meeting, which I wrote about here in a piece posted on the Los Angeles Times website.

This week’s attack against police off the 134 freeway and anti-American vandalism and assault on freedom of speech at Occidental College, where Barack Obama and Jack Kemp, the 1996 vice-presidential nominee, once took classes and graduated, respectively, are major events and ought to cause Eagle Rock residents, schools and businesses serious concern. When I attended the all-volunteer council’s meeting, I found those attending and presiding to be very engaged, especially about the prospect for worsening crime, so I anticipate a strong reaction.

But I also think Eagle Rock is a microcosm of the country, with crumbling infrastructure and more government control, with some focused more on punishing the productive and profitable than on improving the quality of life by protecting the First Amendment and property rights. I’ve also found decent hardworking individuals in the community who have lived, bought, traded, worked and invested there for years.

As with good Americans everywhere, they must rise to the challenge of this new siege on free speech and assault on law enforcement by showing up at council meetings, speaking out, exercising the freedom of speech and defending the rights of the individual.

Eagle Rock, like America, certainly has what it takes to end the attacks.

From the shops, boutiques and eateries along Eagle Rock Boulevard to Eagle Rock’s library and the wine tasting room on Colorado Blvd., which I wrote about last week, there’s more good than bad in this uniquely mixed LA neighborhood. As the wine tasting room’s owner, an Occidental alum and businessman who spoke of his plans to host a talk by Oxy scholars on Greek mythology, said when he showed a tattoo of Achilles: “I love the classics.”

This display of pride in explicit free expression and support for the foundations of Western civilization is just what besieged Eagle Rock needs.


Related

Articles about Eagle Rock by Scott Holleran

Businessman Sponsors Local Artists at Wine Tasting Room

Eagle Rock Neighborhood Council Meeting on Sign, Property Regulations, Neutra-designed Rec Center

Photo Exhibit at Eagle Rock Branch Library

Review: Dodger Stadium

I hadn’t been to Dodger Stadium for years when I decided to watch a baseball game during daytime like I did when I was a kid.

Having childhood memories of watching men play ball from the bleachers at Wrigley Field and with my best friend at Comiskey Park in Chicago, I first came to the home of the legendary Los Angeles Dodgers with high expectations long ago with my friend Randy, who now runs a baseball academy.

I was not disappointed. The place, which opened for business on April 10, 1962, had become less than ideal, however, under previous ownership. Though I live and work close to Dodger Stadium (and I’ve covered sports, including baseball, for newspapers), I hadn’t attended a Dodger game since before I created this blog.

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Dodger Stadium exterior Summer 2016. Photo by Scott Holleran © Copyright 2016 Scott Holleran. All rights reserved. May not be reproduced without the permission of Scott Holleran.

Seeing this summer’s games at Dodger Stadium brings back the joy of attending a baseball game. Los Angeles is the second largest city in America and LA’s Southern California ethos is distinctly American. But the challenge of modern living here is the same as anywhere in the deteriorating United States. Anything run by the government—hospitals, schools, roads—is a bureaucratic mess. This fact only makes a day at Dodger Stadium more of a marvel.

While I’m sorry to say that the ballpark was built after LA’s government demanded that Brooklyn Dodgers’ owner Walter O’Malley grant the deed to LA’s Wrigley Field in order to move the team to Los Angeles—and Los Angeles violated property rights, invoking eminent domain, to build it—Dodger Stadium remains an outstanding achievement.

Designed, engineered and constructed with tiered levels and entrances and convenient parking for each area, it’s easily accessible, so I choose to drive, park and walk. It is better to arrive early for a chance to explore the clubs, bars, grills, shops, playgrounds and picture spots. Nestled in the hills of northeast LA, Dodger Stadium affords sweeping views. A seat in the upper reserve section puts the Hollywood sign in plain view. Sights of LA’s skyline, hillsides, suburbs, palm trees and surrounding mountain ranges are all included in the price of admission and the sight lines of the playing field are fine. There really isn’t a bad view of the field, though the creep of sponsor signage is obstructive, especially in right field.

Buying tickets online is relatively painless and the admission process is simple. After a security check, show your smart phone ticket and parking pass or print them and follow the signs to your seat. After a safety announcement, ceremonial balls, pitches and the national anthem, and broadcaster Vin Scully’s context-setting pre-game clip, the Dodgers and opponents take the field. Before the game’s over, whenever that happens, visitors are treated to songs (Rodgers’ & Hammerstein’s “Oh, What a Beautiful Morning” from Oklahoma!, “Take Me Out to the Ballgame”), short promotions, occasional gifts and gambling, cheers, replays on ballpark monitors everywhere and the seventh inning stretch. Alcohol is served for a limited time during the game. Concession prices are inflated, of course, though guests can bring regular sized bottled water, snacks and backpacks. Making a video of the game violates team rules and fans can visit Dodgers.com for details and information on tours, etc. If you don’t want to eat Dodger Dogs ($6), healthy food pretty much means eating a salad (they’re good).

Dodger Stadium Summer 2016. Photo by Scott Holleran © Copyright 2016 Scott Holleran. All rights reserved. May not be reproduced without the permission of Scott Holleran.

The Los Angeles Dodgers are rightly focused on athletic improvement (and taking care of Corey Seaver after he was beaned in the right wrist during yesterday’s game against the Phillies) but, judging by my recent game attendance, the stadium meets the ownership’s goal of restoring a safe, family-friendly spectator sports experience. From upper decks to club, premium and box seating, Dodger Stadium offers a terrific game day of baseball. With driving and exclusive Uber deal options, as well as shuttle bus and bicycling accommodations, transportation is relatively accessible. Seats are comfortable, restrooms are spotless, ushers are helpful and everyone is excited to be there.

The reason: to cheer for men of ability to play this wonderful sport with its sense of being suspended in time—and to watch LA’s Major League baseball team play to win. This season, the Dodgers have been in and out of first place and, from group gatherings of co-workers and families to school field trip students, celebrity guests and honored war veterans, the range of spectators primarily come for the grace, thrill and playfulness of the game.

Big screens show player statistics, trivia games, kiss and tot camera shots, welcome historical clips of Dodgers’ numbers 55 (Orel Hershiser), 42 (Jackie Robinson) and six (Steve Garvey) and, of course, those sharp, pre-game roundups courtesy of reporter Vin Scully in his final broadcasting season. Dodgers’ pride shows, from attentive custodians and parking attendants to vendors, cashiers and on-site Los Angeles Policemen. They make the 56,000-seat Dodger Stadium, the nation’s first privately financed ballpark since Yankee Stadium in 1923, a relaxed, friendly and rational refuge from modern madness.

As with any great American city’s baseball team, Dodger fans make attending baseball at the stadium a unique experience. My favorite part of seeing the Dodgers compete at Dodger Stadium, besides getting seriously if temporarily away from the egalitarian rot wasting the world, is being among decent, hardworking and happy Southern Californians who cheer for the Dodgers to win. Baseball is still the great American sport. LA’s renewed Dodger Stadium is once again one of the best places to watch men play ball.


Related link

The History of Dodger Stadium (April 10, 1962)