Source: Cathay_Circle_Theater.jpg (648×518)
The Fox Carthay Circle Theater, one of the great movie houses in the home of the film business. The photo shows the theater at the premiere of The Life of Emile Zola in 1937.
Architect Dwight Gibbs created the Spanish Colonial Revival building, which housed a round theater within the building’s square frame, for developer J. Harvey McCarthy. Completed in 1926, the theater became the anchor for the Carthay district, bordered by Wilshire, Fairfax, San Vicente, and Pico.
Sadly, the great lady of the Mid-Wilshire district is no more, demolished in 1969 to make way fro two low-rise office buildings and a park.
Jean Stein’s West of Eden is an oral history about Los Angeles, shaped from interviews collected over a period of thirty years.
Source: Very Big in LA by Diane Johnson | The New York Review of Books
Johnson is not particularly kind to Jean Stein in this review, but an Angeleno would almost certainly see the value in Stein’s new West of Eden: An American Place.
For the record, when I say in this forum that “I am not a fan” of an artist, that does not always mean to cast aspersions on the skill or talent of that artist.
Case in point: I am not a fan of the Rolling Stones, and with all respect to Jagger & Co., you couldn’t pay me enough to sit through one of their concerts. I recognize that they are talented. I acknowledge they had an impact on a generation of music. Unfortunately, neither they nor their music ever connected with me.
(My elder sister, twelve years my senior, believes this to be a generational issue. She’s wrong: if my age was the cause of my Stones issue, how to explain my love of The Who, Frank Sinatra, and Benny Goodman?)
Talent does not mean connection. We too often interpret in others a failure to appreciate the work of an artist we like as an aesthetic failing, a fundamental flaw in their world view that prevents them from really seeing the work.
But if I have learned one thing at this early stage of my swim in a deepening sea of art and literature, it is the truism that no creation is objective. We bring our experiences, our fears, our subjective values to a work. And that is where the magic takes place. Art is not what happens on a page. Art is what happens when creation and perception collide.
How a privately educated British schoolboy named John Mellor became The Clash’s iconic front man
Source: Joe Strummer and Punk Self-Reinvention – The Atlantic
Not strictly California, but a superb piece of music writing.
Nature’s best kept secrets are tucked away in the spaces mostly untouched by human interference. That is why, up until 2006, no one knew of the world’s tallest tree, nicknamed “Hyperion”…
Source: The private life of Hyperion, the world’s tallest tree | Inhabitat – Green Design, Innovation, Architecture, Green Building
Source: Will the Future of the California Coast Be For the People or For the Big Developers? – Rules & Regulations – Curbed LA
Read the article.
Time for all of us, regardless of our political stripes, to stand up and insist that the Coastal Commission do its job.
This is going to require a higher degree of diligence than before, but it is not the job of all of us to protect our coasts. We can no longer depend on the government – even the government of a liberal Democrat – to do it for us.
Source: 2016 PEN/Diamonstein-Spielvogel Award for the Art of the Essay | PEN American Center
Sidewalking: Coming to Terms with Los Angeles, David Ulin’s superb essay about Los Angeles as an urban environment, has been nominated for the PEN/Diamonstein-Spielvogel Award. Congratulations, Mr. Ulin, on giving LA the kind of heartfelt examination it deserves, and best of luck with the award.
Amid a documented rise in the number of homeless in New York City, many of those without homes may be effectively invisible – going about seemingly normal routines and even work without a place to live.
Source: Homeless model: New York’s hidden homeless – BBC News
A fascinating story that poses a question: how long can any city hold itself out as a center of arts and letters when only the most successful artists and scribes can even afford to live there?
He is now 86, and shows little sign of slowing down. “I get excited about working on new things,” he said recently. On the list is a shimmering tower that he is creating in Arles, France, to mark a lushly funded private arts complex called LUMA and a series of wriggling slabs for the vast Battersea Power Station in London which is being converted into luxury flats. He is adding to the quarter-mile-long building he recently completed for Facebook in California. And he is supporting arts education in low-performing Los Angeles schools. Mr Gehry is hard on himself, never satisfied that a given design is right. “All I see is what I could have done better. I can’t help it.”
Source: A life in shapes | The Economist
It is also a microcosm of urban crisis — and opportunity. It raises all sorts of questions. What is meant by public space? What is or should be permissible there? What is the solution to the problem of homelessness? What is the best way to help an addict? What is the role of private interests attempting to reinvigorate a public space? Who controls land? What constitutes a power grab? What constitutes commendable, civic-minded community engagement?
Source: Under the Bridge: A Talk with LA Historian and “Under Spring” Author Jeremy Rosenberg – The Los Angeles Review of Books
Los Angeles is Los Angeles no more. Jeremy Rosenberg explains why, and why that is a good thing.