Article 10

Article 10 - PERSPECTIVES ON LOS ANGELES: THE IMAGES OF THE...

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Unformatted text preview: PERSPECTIVES ON LOS ANGELES: THE IMAGES OF THE CITY Dana W. Bartlett, The Better City (1907): A great city is forming by the shore of the sunset sea. Great and still greater will it become as the years go by, until it stretches itself from the Sierra Madre Mountains to the Pacific... . A century ago, this was the Land of Mariana. Today it is the city of the strenuous life. Another reason why Los Angeles is to be not only a greater but a better city, is found in the fact that it is largely an American city. The majority of its citizens are of American birth... The City of the Angels can be among the first to realize the world’s dream of the City Beautiful... ..The New Los Angeles can be made a place of inspiration for nobler living... The City of Angeles is as yet far away from the ideal city. The dollar still rules. Material things are still more sought for than spiritual. Low political ideals still hold sway. Nevertheless, the brighter day is dawning. Rupert Hughes, Souls for Sale [a novel] (1922): "Los Angeles! " the sneering preacher cried, as Jonah might have whinnied, "Nineveh!" and with equal scorn. "The Spanish missionaries may have called it the City of Angels; but the moving pictures have changed its name to Los Diablos! For it is the central factory of Satan and his minions, the enemy of our homes, the corrupter of our young men and women——the school of crime. Unless it reforms—-and soon!--surely, in God's good time, the ocean will rise and swallow it!" Aldous Huxley, “Los Angeles. A Rhapsody” (1926) Thirty years ago Los Angeles was a one-horse—a half-horse—town. In 1940 or thereabouts it is scheduled to be as big as Paris. As big and as gay. The great Joy City of the West. And, oh, how strenuously, how whole-heartedly the people of Joy devote themselves to having a Good Time! The Good Times of Rome and Babylon, of Byzantium and Alexandria were dull and dim and miserably restricted in comparison with the superlativer Good Time of modern California. The wealth of Joy City is unprecedentedly enormous... .. Its light-hearted people are unaware of War or pestilence or famine or revolution, have never in their safe and still half empty Eldorado known anything but prosperous peace, contentment, universal acceptance. .Truth is not wanted in the City of Dreadful Joy... .. l l Carey McWilliams, “Los Angeles,” Overland Monthly and OutWest Magazine (1927) And in a certain restricted sense, Los Angeles is a harlot city—gaudy, flamboyant, richly scented, sensuous, noisy, jazzy. The erection of new “movie” palaces is carried on at a great pace. Nothing could be more typical of the harlot than these theaters, mammoth houses of gaudy cheapness and democratic prettiness. .. .Such brothels of ill taste are just the places to display trashy amusement for the delectation of the yokelry of America... .. Edgar Lloyd Hampton, “Los Angeles,” Overland Monthly and OutWest Magazine (1927): Los Angeles is today the recognized creative art center of America .... ..Among the most obvious reasons is the motion picture... .. The picture industry calls for every type of expert: authors, actors, sculptors, painters, musicians, dancers, scientists, architects, historians—in addition to technical experts of all conceivable crafts. The impulse to achieve takes care of the results. In Los Angeles today there are more creative artists of every sort than may be found in any other city on earth... .The accumulation of these various cultural movements has made of Los Angeles the creative art center of this nation, and this fact will continue increasingly throughout the future. Bruce Bliven, “Los Angeles: The City That Is Bacchanalian—in a Nice War,” The New Republic (1927): Nearly everyone I know who comes from the East, or from Europe, to Visit Los Angeles, goes away declaring that it is embodied nightmare; but I can only say that those who hold this view seem to me amazingly short-sighted. .. .. For this city is a social laboratory in excelsz's. It offers a melting-pot in which the civilization of the future may be seen, bubbling darkly up in a foreshadowing brew. .. .If frigid Puritanism is a menace, be of good cheer: it is thawing quickly away under the sensuous sun of the Western Riviera. Louis Adamic, “Laughing in the Jungle” (1932): And Los Angeles is America. A jungle. Los Angeles grew up suddenly, planlessly, under the stimuli of the adventurous spirit of millions of people and the profit motive. It is still growing.....Hence, if one lives in Los Angeles--one would best be properly equipped and armedunot with guns and bolos and mosquito netting, but with knowledge and understanding of the scene, with a sense of humor--with laughter. Otherwise the place is very apt to get the better of one, both materially and spiritually. Henry E. Huntington, as quoted by A. Edward Norton in “The Course of Empire,” The Atlantic Monthly (1932): I am a foresighted man, I believe that Los Angeles is destined to become the most important city in this country, if not in the world. It can extend in any direction as far as you like; its front door opens on the Pacific, the ocean of the future. The Atlantic is the ocean of the past. Europe can supply her own wants; we shall supply the wants of Asia. There is nothing that cannot be made and few things that will not grow in Southern California. It has the finest climate in the world: extremes of heat and cold re unknown. These are the reasons for its growth. H.L. Mencken to Fitzgerald on his return from Hollywood (19305): "Thank God you have escaped alive! I was full of fears for you. If Los Angeles is not the one authentic rectum of civilization, then I am no anatomist. Any time you want to go out again and burn it down, count me in." F. Scott Fitzgerald, "Handle with Care" (1936): I saw that the novel, which at my maturity was the strongest and supplest medium for conveying thought and emotion from one human being to another, was becoming subordinated to a mechanical and communal art that, whether in the hands of Hollywood merchants or Russian idealists, was capable of reflecting only the tritest thought, the most obvious emotion. It was an art in which words were subordinate to images... . Carey McWilliams, Southern California: Island on the Land (1946): Los Angeles itself is a kind of utopia: a vast metropolitan community built in a semi- arid region, a city based upon improvisation, words, propaganda, boosterism. . . .. Incessant migration has made Los Angeles a vast drama of maladjustment: social, familiar, civic, and personal....Los Angeles is the kind of place where perversion is perverted and prostitution prostituted... ..Here America will build its great city of the Pacific, the most fantastic city in the world. Lee Shippey, T he Los Angeles Book (1950): Los Angeles is a sprawling hodgepodge of beauty and ugliness, of adobe and chromium steel, of cosmopolitanism missed with a hundred kinds of smalltownishness, of striding progress and incredible backwardness, of irresistible i . ces of change confronting seemingly impassable obstacles of changelessness. .. .. It is bumptious, upstartish and arrogant, yet strangely obsequious to and imitative of older culture... . It is Bedlam and the Forest of Arden, Pittsburg and Hyde Park To the average tourist it is what the elephant was to the blind men, something wholly different to each Norman Mailer, "Superman Comes to the Supermarket" (1960): Not all the roots of American life are uprooted, but almost all, and the spirit of the supermarket, that homogeneous extension of stainless surfaces and psychoanalyzed people, packaged commodities and ranch homes, interchangeable, geographically unrecognizable, that essence of the new postwar SuperAmerica is found nowhere so perfectly as in Los Angeles' ubiquitous acres. One gets the impression that people come to Los Angeles in order to divorce themselves from the past, here to love or try to live in the rootless pleasure world of an adult child. One knows that if the cities of the world were destroyed by a new war, the architecture of the rebuilding would create a landscape which looked, subject to specifications of climate, exactly and entirely like the San Fernando Valley... Robert Carson, The Outsiders (1966): The town was broadening, spreading, sprawling out....The Queen was unique. Nothing on her lines had ever existed before. She represented freedom, space, disjointedness, a kind of urban anarchy. He had no fear that she would stop expanding and adding to her population; maybe the automobile...was the solution to pulling together an entire galaxy of as yet unrelated suburbs. The Queen won't have a heart or cohesion, or the same people from generation to generation, and it'll copy the snake and grow a new skin every ten years. The center will lay wherever you persuade 'em to go, and force continually outward when men have to buy cheaper land. She's a huge, fat queen, a whore, ready to lie down and spread her legs anywhere for new lovers. She no longer needs a bed and a house and pimps to bring in the trade. Growing up late, she can afford to break all the rules. She's how cities will look in the twenty-first century, I think—-a thousand villages and encampments, constructed to last out a mortgage in a mild climate-~held together by telephone wires and rubber-tired wheels and entertainment sent through the air. Joan Didion, “Los Angeles Notebook” (1965-67) from Slouching Towards Bethlehem: The city burning is Los Angeles” deepest image of itself: Nathanael West perceived that, in The Day of the Locust and at the time of the 1965 Watts riots what struck the imagination most indelibly were the fires. For days one could drive the Harbor Freeway and see the city of fire, just as we had always known it would be in the end. Los Angeles weather is the weather of catastrophe, of apocalypse, and, just as the reliably long and bitter winters of New England determine the way of life there, so the and unpredictability of the Santa Ana affect the entire quality of life in Los Angeles, accentuate its impermanence, its unreliability. The wind shows us how close to the edge we are. Chester Himes, The Quality of Hurt (1972): Los Angeles hurt me racially as much as any city I have ever known--much more than any city I remember from the South. It was the lying hypocrisy that hurt me. Black people were treated much the same as they were in an industrial city of the South. They were J im—Crowed in housing, in employment, in public accommodations, such as hotels and restaurants....The difference was that the white people of Los Angeles seemed to be saying, "Nigger, ain't we good to you. " The only thing that surprised me about the race riots in Watts in 1965 was they waited so long to happen. Jan Morris, “Los Angeles: The Know-How City,” in Rolling Stone (1976): Nobody driving down Wilshire Boulevard, say, or watching the surfers spring into the Pacific, could call the culture of LA. dead. It is full of vitality still, full of fun and wealth. The refugees are still flocking to this haven beyond desserts, the men of brilliance are still at work in labs and laboratories and studios from Malibu to Irvine... .. .it will represent forever, I think, the apogee of urban, mechanical, scientific man, rational man perhaps, before the gods returned. For it is past its prime already. It has lost the exuberant certainty that made it seem, even when I first knew it, unarguably the City of the Future, the City That Knew How. None of us Know now. The machine has lost its promise of emancipation, and if LA. then seemed a talisman of fulfillment, now it is tinged with disillusion. Those terrific roads, those thousands of cars, the sheen of the jets screaming out of the airport, the magnificent efficiency of it all, the image building, the self-projection, the glamour, the game—they were all false promises after all, and few of see them now as the symptoms of redemption. John Gregory Dunne, “Eurkea!” (1978): The absence of past and structure is basic to the allure of Los Angeles. It deepens the sense of self-reliance, it fosters the idea of freedom, or at least the illusion of it. Freedom of movement most of all, freedom that liberates the dweller in this city from community chauvinism and neighborhood narcissism, allowing him to absorb the most lavish endowments his environment has to offer—sun and space. David Thomson, "Driving in a Back Projection" (1984): For it is exactly in the absence of classical structure, center, stability, tradition, and integrity that Los Angeles appeals. There is no need to preach any moral in being fixed or in being unstable. 1 do not mean to propose Los Angeles for its virtuous novelty any more than I can honestly regret its departure from conventional ground plan, neighborhoods, neighborliness and traditional ways of interaction. Rather, it is that Los Angeles is what it is, changing before your eyes--not out of forced, degraded habit, but from nature-—slippery, imagistic, and imagined... It is the first place which has given up the truth and not been swallowed by the earth or a furious god. I know, the earthquake is there, an ongoing coming attraction. Meanwhile, Lies Allowed. Los Angeles 2000 Committee (1988): Like all large cities, Los Angeles is a place where people of many races and cultures come together. But the City of Angeles has attracted them in an astonishingly rich and disparate variety. New York City, which was host for the great immigration of European populations at the turn of the last century, drew people who shared important cultural traditions, even if they did not always share a common language. Thus, there was a core that could be assimilated in the melting pot. But, as the turn of the next century approaches, the mosaic is a more appropriate metaphor for Los Angeles than the melting pot. Peter Theroux, Translating LA: A Tour of the Rainbow City (1994): There is a temptation to look at the human geography of LA, with its rich history of Spanish domination, Yankee connivance, mob-led lynchings, black, Chicano, and white riots, and surging influx of Asians, as a mirror of the tortured terrestrial evolution. It is easy to see how a demo-geologist might record the eructations of LA’s ethnic history: The Uzo-Aztecan or Shoshonean plate was struck and largely submerged by the Impero-Hispanic plate in 1786, which pushed up the Catholic fault blocks through the pacifist thrust—faults of the Uzo-Aztecan plate. The migrating Yankee plate created strains in the rock whose compressional force pushed up slabs of Iowa granite, eventually resulting in Los Angeles’ first Protestant church service in 1850, which in turn jolted the deep Padre Serra Fault. Well into the twentieth century, faraway geotectonic temblors continued to shape the varied structure of the area, notably the Indochinese Cataclysm, the long—dormant but recently active Latino Fault aggravated by the northward movement of the Guatemalo-Salvadoro-Nicaraguan seismic web, and the Khomeini earthquake in Southwest Asia, which spewed plumes of Iranians over the Transverse Range into the San Fernando Valley. So far the Polynesian-Filipino Fault, one of the largest but longest-dormant earthquake faults, has failed to budge, unlike the Afro- Confederate fault, whose violent eruptions have dramatically altered the formerly agrarian flatland of South Central Los Angeles. Pico Iyer, “Where Worlds Collide,” in Harper’s (1995): LA, legendarily, has more Thais than any city but Bangkok, more Koreans than any city but Seoul, more El Salvardorans than any city outside of San Salvador, more Druze than anywhere but Beirut; it is, at the very least, the easternmost outpost of Asia and the northernmost province of Mexico. When I stopped at Traveler’s Aid at LAX recently, I was told I could request help in Khamu, Mien, Tigrinya, Tajiki, Pashto, Dari, Pangasinan, Pampangan, Waray-Waray, Bambara, Twi, and Bicolano (as well, of course, as French, German, and eleven languages from India). LAX is as clear an image as exists today of the world we are about to enter, and of the world that’s entering us... . In LA. . . ..unlike many cities, it is not a hub but a terminus: a place where people come to arrive. Thus many of the meetings you witness are between the haves and hope- to-haves, between those who are affecting a new ease in their new home and those who are here in search of that ease. Both parties, especially if they are un-American by birth, are eager to stress their Americanness or their fitness for America; and both, as they look at each other’s made-up self, see themselves either before or after a stay in L.A.’s theater of transformation. .. . The “homeless” and the “tempest—tost” that the Statue of Liberty invites are arriving, increasingly, in a city that is itself famous for its homeless population and its fires, floods, and earthquakes. Lynell George, “Native to the Place” (2001): If you were honest and just let the needle drop, the soundtrack for Los Angeles would not be the Beach Boys, but cruising music: the slow glide of cars, asphalt like pencil smear curve, widening outward. It’s the ragged, piecemeal rhythms of a street band like War and its marriage of soul music congas and fraying rock guitars. LA. is broken edges and patched-together lives. It’s the struggles and the conflicts and the injustices obscured. It’s a life full of competing melodies and the few, but ever growing, clearings of common ground. Stephen B. Sample, “The University of Southern California at 125: Inventing the Future Since 1880” (April, 2005): When USC was founded on September 4, 1880, Los Angeles was a dusty little village of 10,000 souls with a pretentious name: El Pueblo de la Reina de Los Angeles, the Town of the Queen of the Angels. In 1877, as the founders of USC were contemplating the need for a university that would help attract more settlers, the great Californian naturalist John Muir rode south into Los Angeles to have a look. He didn’t stay long, but he recalled his visit with these words: ‘An hour’s ride over stretches of bare, brown plain, and through cornfields and orange groves, brought me to the handsome, conceited little town of Los Angeles, where one finds Spanish adobes and Yankee shingles meeting and overlapping in very curious antagonism.” This apt image of Los Angeles as a cultural crossroads in many ways characterizes the history of this region——an intersection of cultures that has been at times marked by the cacophonous sounds of collision, but, to my mind, also an intersection of cultures that is infused amazingly, vibrantly, and uniquely with a kind of concordant madrigal of intricate harmony. In the 50 years since USC’s founding in 1880, Los Angeles grew from a community of 10,000 to over a million people in 1930... .Today LA. is a megacity of 10 million. No other city in history has grown from 10,000 to 10 million in under 100 years. LA. and USC have come far in just over a century. Each possesses in abundance those qualities that ensure dynamism—restlessness, resilience, and ingenuity. mnoa omnn< Znshwamam. wocnrmn: cswhmonswsn Hchsm on n50 r050 AHw>¢V .. If; .. iiv..... .Z. .!.ILL|IIIII’:...:._: .. .. n in. a 33.053 8806:. H HE. «H08» .5 find—EH. 0&3 9.35“ . . . 5 $053300 .50 run. 685 088:3 8:3 5035a. 3.. 35» Eng nah” waathowrmr” .zaum.” (“We BfiMowo M00253 E05.» 5 .90 8a.. 5 n 805 n" 90 amused moi. M5035“ 583 m3. H35 90 a n 25.5 3.. 53 H 9.: 333 . fiahaaa 8 as :02. is. as 05 ESE: ENE 25.5... a 3:8 9a .85. $33.? 505 02.2 . a H r 2...: . 5 . «0.8. H .500. 3 8 2:95: H0355“ mesa 8 5H. 038 5 p .88 0H 55520 0381. H. 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H» <3: 60 w USS: SQ Q0 638$ Wonnmdmuw 855m Bmfiuvroc. H” is? «to 5035398” 83de or? 2098. . . For fearful , because it requires that we become a mixed breed, a Angelefios, becoming fully native to Los Angeles‘will require a creole of colors and divided allegiances of the heart. That is the Los} Angeles where I long to live. ...
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Article 10 - PERSPECTIVES ON LOS ANGELES: THE IMAGES OF THE...

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