2004 (2003) (2004a) (2005) (2000-2010) Table of Contents
Julian Aberbach, 95; Co-Founded Firm That Published Elvis Hits, Los Angeles Times, 25 May 2004, B11 1940s See Text
Jaroslaw Anders Caught in a dark history: Michael Andre Bernstein's Conspirators, Farrar, Straus & Giroux, 2004, Los Angeles Times Book Review, 11 April 2004, p. R3 See Text
Myrna Oliver Alphonzo Bell Jr., 89: GOP Congressman Often Won Bipartisan Support, Los Angeles Times, 27 April 2004, 1970s, 1960s, 1950s B11 See Text
David Cotner Dublab Covers Project 18 June 2004 LA Weekly p. 158 See Text
Entertainment Today, 13 -19 February 2004 p. 40 See Text
Entertainment Today, 23 -19 April 2004 p.22 See Text
2004@feinstein.org
Subject: "Meet & Greet" Campaign
Fundraiser to Re-elect Michael Feinstein* to the Santa Monica City
Council in 2004
http://www.feinstein.org/2004oceanparkinvite.html See
Text
Blair Clarkson Feinstein* Kicks Off Reelection Bid, The Lookout News 15 June 2004 , 2000, 1996 See Text
Peter Frank Art Picks of the Week: Greg Coulson, Joel Morrison, James Turrell,* L.A. Weekly, Feb. 2004 See Text
Malcolm Gladwell Annals of Commerce: The Terrazzo Jungle, 15 March 2004, The New Yorker, pages 120 to127, 2004, 1961, 1960, 1954, 1950s See Text
Naomi Hirahara Summer of the Big Bachi, Bantam Dell: NY, 2004, 287pp.
Historic Santa Monica City Hall ( A guide to), Santa Monica and the Getty Trust, 2004, 1996, 1939, 1938, See Text
Richard Howard Los Angeles Times Book Review, 28 March 2004, Rachel Cohen's A Chance Meeting: Intertwined Lives of American Artists and Writers, 1854-1967, Random House: NY, 2004, 366 pp., 2004, See Text
Elaine Woo Mildred Jeffrey, 93; Feminist Fought for Civil, Labor Rights, Los AngelesTimes 29 March 2004, B9. See Text
David Lebrun* <lebrun@ix.netcom.com>Subject: Screenings of Proteus See Text
Mary Leipziger OP Palm & New Zealand Tea Tree, 2004 See Image
Joan Martin* 2004 See Text
Laura Martin*, 2004 See Text
Pocket Book An Exhibition by artists James Hough, Laura Martin* and Sam Watters, Calendar Weekend Section page E56 Galleries LA Times, 17 June 2004, p. E56 Compiled by Jess Holl: Openings: Friday See Text
Michael D's Cafe and Catering, 234 Pico Blvd., 19 June 2004 See Text
Anna Elizabeth 'Nancy' Nimitz,* 84; Rand Economist, Researcher, 1 March 2004 Los Angeles Times, B11, 2004, 1952 See Text
James R. Oestreich Variations on Chance, Anarchy and Silence, The New York Times, Sunday, 25 January 2004, AR 25, 2004, 1987, 1960 See Text
PLUG RESEARCH MUSIC NEWS 6/29/04
http://www.plugresearch.com See
Text
Dennis McLellan Marilyn J. Reece, 77; State's First Licensed Female Civil Engineer Los Angeles Times, 21 May 2004, B10, 2004, 1995, 1964, 1963, 1962, 1960s, See Text
Kelyn Roberts, Observations, April, 2004 { . . . } See Text
Santa Monica Daily Press, 3, 105 13-14 March 2004 page 1 Photo of the political cartoonist's, Conrad's Scupture, Chain of Peace or Chain Reaction which is on Main St. near the Civic Auditorium., 2004 See Text
Santa Monica Daily Press, 3, no.138, 21 April 2004 Say you want a revolution? Fuel cell era motors ahead John Wood, Staff Writer See Text
Santa Monica Daily Press, 8-9 May 2004, p. 6 Music with a colorful bent, See Text
Carolanne Sudderth Tenants win fight to preserve historic courtyard complex , Ocean Park Gazette, 15 June 2004, 1980s, 1940s, 1930s, 1926, 1925, 1920s, See Text
Mark Swed Classical Music Critic's Notebook: The Sound of America, Los Angeles Times, Sunday 25 January 2004. E43, 2004, 2001, 1942, 1941, 1912 See Text
Maureen Tobin & Thomas Young Get A Life . . . Santa Monica Daily Press, 5 March 2004, p. 9, Casa Del Mar Hotel by the Sea and Ocean Front Restaurant, 2004, 1926 See Text
Maureen Tobin & Thomas Young Get a Life . . . Santa Monica Daily Press, 30 April 2004, p. 9 Via Veneto Ristorante, See Test
Colm Tóibín Rinse it in dead champagne: Lindy Woodhead War Paint: Helena Rubinstein and Elizabeth Arden: Their Lives, Their Times, Their Rivalry, Virago, April 2003, 498 pp. London Review of Books, 5 February 2004, pp. 32-34. 1927 See Text
David Trotter All of a Tremble: A Review of Hanns Zischler's Kafka Goes to the Movies, trans. by Susan Gillespie, Chicago: 2003, London Review of Books, 4 March 2004, p. 28, 1914 See Text
Venice February 2004 See Text
Vidiots, 302 Pico Blvd., Santa Monica See Text
S. Irene Virbila Critic's Notebook: He's back for another course, 24 June 2004, Los Angeles Times, E24. 2004, 2002, See Text
The London Courtauld Institute of Art's Thursday afternoon talks in the Gilbert Collection for August are to be given by Alicia Weisberg-Roberts*, 5/8/04 "Dressing and Design"; 12/8/04 "Writing and Design"; 19/8/04 "A Chocolate Pot"; and 26/8/04, "Dining and Design", all on Silver and Sensibility. See Text
Wildflour Pizza, 2907 Main Street, 2004 See Text
Ding Yimin China: Underground Detector Proposed to Join Hunt for Gravitational Waves, 16 April 2004, Science, 304 p. 375, 2004, 1915 See Text
Documents:
Julian Aberbach, 95; Co-Founded Firm That Published Elvis Hits, Los Angeles Times, 25 May 2004, B11
"Julian J. Aberbach, 95, who with his brother, Joachim, founded Hill and Range, a music publishing company that published such familiar tunes as Frosty the Snowman, Save the Last Dance for Me, I Walk the Line, and many of Elvis Presley's hits, died May 17 of heart failure at Mount Sinai Hospital in Manhattan.
"Born in Vienna, Aberbach was living in Paris and trying to start a music publishing company but fled to the United States as World War II approached in Europe.
"He served in the U.S. Army and developed a love of country music during basic training in the South. After the war, he moved to Los Angeles and went into business.
"He signed a deal with fiddle player Spade Cooley* to represent Cooley's song Shame on You. The song was issued as a single by Columbia Records and hit No. 1 on the country charts. Aberbach's music business was on its way.
"One of the most significant publishing deals ever made by Aberbach was the acquisition of the exclusive rights to the music of Elvis Presley. Aberbach brokered an agreement with Presley in which his firm and Presley split the domestic profits equally. Songs recorded by Presley that the company published included Love Me Tender, All Shook Up, and Can't Help Falling in Love With You."
Jaroslaw Anders Caught in a dark history: review of Michael Andre Bernstein's Conspirators, Farrar, Straus & Giroux, 2004, Los Angeles Times Book Review, 11 April 2004, p. R3
" . . .
"A literary scholar and critic, Bernstein believes that our visits to the past are motivated less often by a curiousity about life as it was than by the fact that we have a priviledged, analytical relationship to it. . . . Time has already assigned meaning to events, revealed their consequences, separated the substantial from the accidental. More often than not, it has already judged the past actors, which allows us to be a bit judgemental without appearing presumptuous.
"Though the present is mostly the domain of irony -since everything can still turn out a farce instead of a tragedy-the past appears to us as the last refuge of "moral seriousness." . . .
" . . .
"This reticence seems a result of Bernstein's theory of historical fiction, which he presented in his 1994 book of essays, Foregone Conclusions. There he argues against "the sense-making authority of the future," which tends to limit our interest in the past only to what foreshadows the future and "implies a closed universe in which all choices have already been made." In Bernstein's view, the true homage to the past, especially a past irreversibly destroyed, is an approach he calls "sideshadowing." He describes it as "a gesturing to the side, to a present dense with multiple and mutually exclusive possibilities of what is to come."
" . . . a writer's task is to look away and avoid the piety that the knowledge of the future imposes. Instead, the writer must pay attention to the odd, bizarre, disturbing and marginal, which . . . contain "the seed of diverse and mutally exclusive possible futures. . . "
Myrna Oliver Alphonzo Bell Jr., 89: GOP Congressman Often Won Bipartisan Support, Los Angeles Times, 27 April 2004, B11, 1977, 1950
"Alphonzo Bell Jr., who represented Los Angeles' influential Westside in Congress for eight terms and was a scion of the pioneering ranching, oil and development family that give its name to the Southern California communities of Bell, Bell Gardens and Bel-Air, has died. He was 89.
" . . .
"From 1950 to 1977, Bell represented a vast congressional district-the 28th and, after redistricting, the 27th-running along the coast from Malibu to the Palos Verdes Peninsula and encompassing all or part of Santa Monica, Pacific Palisades, Brentwood, Bel-Air, and West L.A. Then considered a Republican stronghold, the district nevertheless had only 40% GOP voter registration, and bipartisan approval was necessary.
" . . ."
David Cotner Dublab Covers Project 18 June 2004 LA Weekly p. 158
One of the greatest catalysts for cultural change-via 20th-century pop music-is the record sleeve. Standing for decades in record stores like Isaac Asimov's monoliths, the sleeve drove countless millions to step away from their basements and discover new worlds and unknown pleasures. The web radio station/DJ collective Dublab takes this to its logical nth with the installation "Up Our Sleeve," showcasing over 450 one-of-a-kind sleeves designed by a global roster of artists. Since 1999, Dublab's listeners have reached those new lands like those earlier purveyors of the vinyl anachronism, connecting with the Web site's audiocasts and DJ appearances worldwide. Amid the vast panoply of personal artistic tomfoolery through "paper, paint, ink, ribbons, paste, plastic, photos, metal, mannequin heads and magic," and blank 12-inch record sleeves (examples of which can be seen online at www.upoursleeve.org ), is live action from nearly everyone at Dublab, including Ale (of Languis), Daedelus*, Derelict, Dntel, Flynn & Morpho, Frosty, J-Logic, Kutmah and Carlos Niño. After this evening, the entire collection keeps on truckin' with a multicity Dublab Soundsystem gallery tour. It's a rare opportunity to connect the actual object (what do you want on your tombstone?) with the virtual and surreal (the faraway voices down the telephone line). Up Our Sleeve: The Dublab Covers Project at Inshallah Gallery, 244 S. Main St., downtown.; Sat., June 19, 6 p.m.; all ages; free.
Entertainment Today, 13 - 19 February 2004 p. 40
Beach Cities
Entertainment Today, 23 - 19 April 2004 p.22
From:
Friends of Michael Feinstein* 2004 <2004@feinstein.org>
Date: Fri Jun 4, 2004 8:23:20 PM US/Pacific
To: 2004@feinstein.org
Subject: "Meet & Greet" Campaign Fundraiser to Re-elect Michael
Feinstein* to the Santa Monica City Council in 2004
Reply-To: 2004@feinstein.org
Dear Santa Monica community member
You are cordially invited to the 2004 "Meet & Greet" campaign kick-off & fundraiser, to help Re-elect Michael Feinstein* to the Santa Monica City Council in 2004. The event will be on Saturday, June 12th, from 4pm to 6pm, at the beautiful, historic home of Lori Nafshun* and Michael Bone*, at 655 Ashland Ave. in Ocean Park.**
Here is the event web site http://www.feinstein.org/2004oceanparkinvite.html
Michael Feinstein* will speak at the event at 5pm and there will be wine and yummy finger foods throughout. Campaign donations will be accepted on a sliding scale up to the Santa Monica legal maximum of $250/per person, with a recommended donation of $45 (because Michael is $45 this year). No one will be turned away for a lack of funds. Please pass this invitation on to other community members who might be interested - in particular members from Ocean Park. The campaign will also be featuring events in other neighborhoods in the next few months. If possible, please RVSP by Thursday, July 10th, so we know how much food to prepare. If you can't RVSP before then, you are still welcome to come. If you can't make it on the 12th, but would still like to financially support Michael's re-election campaign, you can send your check to:
Friends of Michael Feinstein 2004
PO Box 5631
Santa Monica, CA 90409
(as required by law, please include your occupation and employer for all contributions of $100 or more). If you would like a Michael Feinstein for City Council lawn/window sign, or if you'd like to volunteer for the campaign, please send email to 2004@feinstein.org or contact the campaign at 392-8450. We look forward to seeing you on June 12th and/or at other campaign events in the future,
Friends of Michael Feinstein
**Blair Clarkson in Feinstein Kicks Off Reelection Bid, The Lookout News 15 June 2004 mentions that Lori Nafshun is a Recreation and Parks Commissioner and that her and her husband's house was the birthplace of Santa Monicans for Renter's Rights in the late 1970s.
Blair Clarkson, Feinstein•Kicks Off Reelection Bid , The Lookout News 15 June 2004
Staff Writer
"June 15-City Council member Michael Feinstein threw his green hat into the ring over the weekend, officially announcing his re-election bid for one of four open council seats on the November ballot. The two-term council member and former mayor made his formal announcement to more than 40 long-time supporters and interested first-timers at a "meet and greet" fundraiser in Ocean Park on Saturday.
"The fundraiser, held at the home of Rec and Parks Commissioner Lori Nafshun and her husband Mike Bone, was the first in a series of community events Feinstein plans to attend across the City in order to drum up grassroots support for his campaign.
""I've learned a lot on the council over the past seven-plus years, including serving two years as Mayor," Feinstein said after the fundraiser. "But I think it's critical as I seek re-election that I re-engage myself with people on a block-by-block, neighborhood-by-neighborhood basis.
"In addition to re-energizing and educating myself," he added, "these house parties are about reaching all kinds of people-people who are already active in the community, people who haven't been politically active before, new people in town and people who simply may have new issues that need to be addressed."
"Holding firm to his Green Party platform, Feinstein addressed several sustainable development issues during the wide-ranging four-hour discussion, including the need for more parks and open space, tackling traffic and parking problems, improving City Hall's bureaucracy and revising of the City's General Plan.
""As we map out how our city will evolve over the next 20 years," he said, "I'm committed to the principles of sustainability and community input as critical guides for our common future."
Feinstein, who received several checks during the event and handed out fundraising envelopes to many in attendance, said he was pleased with the result and plans to release his first campaign disclosure report in July.
"Interestingly, the site of Saturday's get-together was also the birthplace of Santa Monicans for Renters' Rights in the late 1970's.
"Feinstein, a member of SMRR, is actively seeking an endorsement from the powerful tenants group, which can translate into thousands of automatic votes from rent-control tenants and the influence of the group's political clout.
""I didn't consciously choose the house because of SMRR's origin there," he said. "Rather the house seemed to choose me, as it was Lori and Mike's idea to have an event there.
""But if the symbolism of this seeming coincidence is any indication of upcoming SMRR support, I will certainly welcome it," Feinstein said.
"Feinstein is well aware of the group's potential influence.
"After earning SMRR endorsements during his previous two council campaigns, Feinstein rolled to impressive and surprising victories. In 1996, as a first-time candidate, he shocked many by finishing second in total votes among the 13 contenders, behind only incumbent Asha Greenberg.
"Then in 2000, Feinstein received the second-highest vote total ever recorded in a Council election (21,084 votes)-following Ken Edwards' re-election bid in 1984-and finished first in the 13-person field.
""SMRR has played an important role in my having the opportunity to serve our entire community," he said. "This year I will again place my faith in the SMRR grassroots membership and hope for their support."
"The tenant's lobby will hold its nominating convention in August.
"Yet while he acknowledges SMRR's vital role in his prior campaign wins and would dearly covet its continued support, Feinstein makes no bones about his ability to go it alone.
""I've enjoyed support across political lines in every part of the City, because people appreciate the independent, common sense role that I've played on the Council," he said. "That's why I have received numerous endorsements from a broad array of community organizations in the past."
"As for whether he would consider running as an independent should he not get a SMRR nod, Feinstein noted, "Given the breadth of the support and encouragement I am receiving, I would have to strongly consider moving forward to November."
Peter Frank Art Picks of the Week: Greg Coulson, Joel Morrison, James Turrell, L.A. Weekly, Feb. 2004
" . . . (Turrell*) the guy who's turning a desert crater into an astronomical observatory . . ."
Malcolm Gladwell Annals of Commerce: The Terrazzo Jungle, 15 March 2004, The New Yorker, pages 120 to127, 2004, 1961, 1960, 1954, 1950s
" . . . Then in the mid-fifties, something happened that turned the dismal economics of the mall upside down: Congress made a radical change in the tax rules governing depreciation.
"Under tax law, if you build an office building, or buy a piece of machinery for your factory, or make any capital purchase for your business, that investment is assumed to deteriorate and lose some part of its value from wear and tear every year. As a result, a business is allowed to set aside some of its income, tax-free, to pay for the eventual cost of replacing capital investments. For tax purposes, in the early fifties the useful life of a building was held to be forty years, so a developer could deduct one-fortieth of the value of his building from his income each year. A new forty-million-dollar mall, then, had an annual depreciation deduction of a million dollars. What Congress did in 1954, in an attempt to stimulate investment in manufacturing was to "accelerate" the depreciation processes for new construction. Now, using this and other tax loopholes, a mall developer could recoup the cost of his investment in a fraction of the time. As the historian Thomas Hanchett argues . . . in The American Historical Review, the result was a "bonanza" for developers. In the first few years after a shopping center was built, the depreciation deductions were so large that the mall was almost certainly losing money, at least on paper - which brought with it enormous tax benefits. For instance, in a front-page article in 1961 on the effect of the depreciation changes, the Wall Street Journal described the finances of a real-estate investment company called Kratter Corp. Kratter's revenue from its real-estate investment operations in 1960 was $9,997,043. Deductions from operating expenses and mortgage interest came to $4,836,671, which left a healty income of $5.16 million. Then came depreciation, which came to $6.9 million, so now Kratter's healthy profit had been magically turned into a "loss" of $1.76 million. . . . The company's policy was to distribute nearly all of its pre-depreciation revenue to its investors . . .(which if it were income would be taxable.) . . . After depreciation, Kratter didn't make any money. That (distributed) money was "return on capital," and it was tax-free." p.125
Historic Santa Monica City Hall ( A guide to), Santa Monica and the Getty Trust, 2004
(The City of Santa Monica has just published A Guide to Historic Santa Monica City Hall, a full-color brochure.
"The brochure includes pictures of the building's interior and exterior tiles that were made by Gladding, McBean, two large Petrachrome murals by renowned Santa Monica artist, Stanton Macdonald-Wright, the inlaid city seal in the lobby floor, and notable woodworking and fixtures.
"Its text chronicles the history of the building.
"Designed by architects Donald B. Parkinson and Joseph M. Estep, and built in 1938-39 as a Federal Emergency Works Project, it is a outstanding example of Streamline Moderne architecture that was favored for public buildings in the 1930s and 40s. Both a designated city landmark and registered state historical resource, Santa Monica City Hall is also eligible for listing in the federal Register of Historic Places.
"The brochure was paid for with funds remaining from a 2002 grant from the Getty's "Preserve L.A." initiative to help conserve the historic, architectural, and cultural resources of Los Angeles County. A Historic Structures Report, compiled by the Historic Resources Group, LLC, surveyed, analyzed and documented the building resources and is the basis for its preservation, maintenance and future improvements.
"The free brochure is available at the Information Desk in the lobby at City Hall. It may also be seen on-line at
santa.monica.org/cm/PDF/HistoricGuide.pdf.)
The Overview
"With a nautical quality befitting its seaside locale, Santa Monica City Hall reflects the character of its surroundings, making it a civic building truly connected to its constituency. Designed by two prominent Los Angeles architects, it is recognized as an outstanding example of the Public Works Administration (PWA) Moderne stye of architecture popularized by Depression-era architects. With orginal Gladding, McBean ceramic tiles found around the west entrance doorway and throughout the building, and historic Stanton Macdonald-Wright murals in the entry foyer that document the city's and the state's history, the building's architecture has earned it a place in the California Register of Historical Resources (1996), designation as a city landmark and eligibility for listing in the federal Register of Historic Places.
"At the time of its formal dedication on November 24, 1939, speakers at the ceremony touched on the building's social importance by emphazing its symbolism of democracy, citizenship and civic responsibility. Its completion represented the collective efforts of residents, city leaders and the federal government to overcome the effects of the Great Depression. That this building has served as the center of the city's civic life for more than 60 years, with much of its original character and architectural integrity still intact, is testament to its broad architectural, social and cultural significance.
"Based on the date of original contruction and National Register requirements, Santa Monica City Hall's period of significance is defined ast 1938 - 1951. Only those spaces and features that fall within the period of significance and retain their original integrity are considered significant and character-defining. As such, the orginal building's exterior is significant, as are numerous interior spaces and features.
PWA Moderne Architecture
"This style of architecture was most widely used in buildings constructed between 1933 and 1944 by the federal Public Works Administration. The PWA Moderne style utilized characteristics of both the Art Deco and Art Moderne styles. From Art Deco, it borrowed geometric and angular ornamentation in low relief, vertical projections and a sense of symmetry. From Art Moderne, it took faceted corners, a flat roof, continuous ribbons of windows and a focus on horizontality. PWA Moderne became a uniquely distinguished stle because of this design mix, but also because it was most often used in projects financed by the federal goverment.
"The primary historic interior areas are the grand entry lobby with high walls, grand stairways and artworks. Character-defining features located on the first floor include the decorative tile wainscots, art murals, metal grilles, terrazzo floors, steel-framed windows, metal lighting fixtures and wood furnishings. Significant interior spaces on the second floor include the Council Chamber at the southwest corner, the original jail cells at the northeast corner and the city manager's office on the east side. Character-defining features here include wood wall paneling, ceramic lavatories, tile floors and wood veneer doors with metal locksets.
The Architects
"As a young architect, Donald B. Parkinson collaborated first with his father, John Parkinson and, later, with Joseph M. Estep, to design many of Los Angeles' most enduring landmarks. Counted among them: the original campus of the University of Southern California (1919-39), the Los Angeles Memorial Coliseum (1923 and 1930-31), Los Angeles City Hall (1928), Bullocks-Wilshire (1929) and Union Station (1939). Parkinson and Estep were responsible for the design of Santa Monica City Hall, on which construction was begun in 1938 and completed in 1939.
Changes
"The first change to the original City Hall occurred when a rose garden was planted in front of the entrance as a memorial to local men killed in war. Dedicated on Armistice Day, 1951, the rose garden still provides a space for remembrance and reflection.
"In 1958, a three-story concrete and brick masonry addition was attached to the rear of City Hall. This new building provided space for a police department, an office for the traffic engineer and offices for the recreation department. Since the opening in 2003 of a new public safety facility and relocation of staff, this non-original addition to the historic building has been slated for demolition.
"A renovation of the Council Chamber in 1999-2000 added technical upgrades and design changes to enhance meeting participation, but did not disturb the existing, historic finishes of the chamber. Of particular design interest is the crenulated wood detail added to the front of the Council dais which mimics a similar detail found at the exterior roofline of City Hall.
Restoration and Preservation
"Simultaneous with the completion of a Historic Structure Report, conservation work on the murals in the lobby was completed over a period of several weeks in 2003 by the firm of Rainer, Stavroudis & Zebala. Their work was directed by the city's Cultural Affairs Division as part of a comprehensive project to survey and restore thirteen murals in the city.
The Murals
"The murals on the north and south walls of the foyer were painted by the renowned American artist Stanton Macdonald-Wright, who spent much of his life in Santa Monica. Using a method he pioneered and called "Petrachrome," Macdonald-Wright painted the murals with a liquid mixture of materials including crushed tile, marble and granite, then let the work dry before polishing it. The technique soon became popular with local muralists and was nationally recognized as an important contribution to the evolution of the medium.
"The mural extending from the west wall onto the north wall depicts a group of five figures meeting on a beach rimmed by mountains, with rocks in the waves at the shoreline. A Spanish conquistador stands with a padre in a Franciscan robe holding a walking stick. They face two Native Americans, kneeling and sitting at a stream, drinking with their hands. Behind them is a standing, bearded figure who wears a blue hat and cloak, and behind him are two bridled horses. A waterfall is seen in the middle distance, the source of the stream. A bird soars in the sky. A timeline accompanying the mural indicates dates of historic significance for both the city and the state.
"The mural extending from the west wall to the south portrays Santa Monica in the 1930s: the cliff-side coastal landscape, with people engaged in recreational pursuits evocative of the locale. A road race, sailboats and airplanes are seen behind large foreground figures, including two polo players (one mounted), a boy kneeling with a model airplane, a pair of tennis players and a dog.
"The city seal, measuring 79 inches in diameter was created with the same "Petrachrome" method and a palette of colors, textures and elements similar to those used in the Macdonald-Wright murals. Encircled by the words, "City of Santa Monica, California. Founded 1875," the seal features a mermaid and Spanish galleon on the bay, with the sun, mountains, clouds and airplanes behind. A ribbon near the base of the seal carries the city's motto, Populus Felix en Urbe Felice, translated from the Latin as "Fortunate people in a fortunate land." The seal is inlaid in the center of the foyer floor, surrounded by color tiles that run along the east - west axis of the foyer and halls. A serrated pattern of yellow triangles running against a brown field, bordered by black stripes, echoes the chevron pattern on the tiled wainscoting found nearby.
The Tiles
"The brilliantly colored tiles that surround the exterior of the front entrance to City Hall and decorate its interior were crafted by the California-based Gladding, McBean Tile Company, now the only remaingin major manufacturer of hand-sculpted, ornamental terra cotta in the United States. In continuous operation since 1875, Gladding McBean's reputation for quality craftmanship was such that, in the early 20th century, its terra cotta ornamentation and wall tiles were integrated into numerous major public buildings, including the Wrigley Building in Chicago, the Warner Theater in Washington, D.C., Carnegie Hall in New York City, and the Bullock's - Wilshire Department Store, Union Station and Los Angeles City Hall.
"At the time of the tile installation at Santa Monica City Hall, Gladding, McBean was based here, although it is believed that the tiles themselves were actually made at the Gladding, McBean plant in Glendale.
"The tiles are variously glazed in multiple colors, including black, beige, ochre, blue, brown, cream and reddish brown, to form either a single field of color or a bold geometric design. Their presence adds to the character and significance of the building by providing rare and unique elements of artistic creation - and they are tangible pieces of a renowned company that shaped the modern ceramics industry."
Richard Howard Los Angeles Times Book Review, 28 March 2004, Rachel Cohen's A Chance Meeting: Intertwined Lives of American Artists and Writers, 1854-1967, Random House: NY, 2004, 366 pp.,
"It is a truth insufficiently acknowledged that a phenomenon of culture, particularly a book, to be properly enjoyed, is best and properly known for what it is (and not for what it is not).
" . . . is a series of linked explorations of intimacy and amity (including certain failures of intimacy, certain violations of amity) among American writers and artists. . . . something of a new genre . . . a Divination by Affective Nearness . . . And what is being divined is nothing less than . . . the nature of modern literary and artistic tangency in the United States.
" . . . has been mistaken for literary criticism, which it is not, although . . " . . .
""Gertrude Stein explained that she had noticed that every American starts over on the project of writing American history or the American novel. She did that. And, at the same time, she had also noticed that each American chooses a tradition, collects, in some sense, his or her own sensibility, and she did that, too.""
" . . . has also been mistaken for a biographer, which she is not, although . . .
"It is easy as well to mistake the tone . . . for gossip, which it is not, although . . .
""John Cage was worried about Marcel Duchamp. By chance, they had been at the same parties four nights in a row, and he had looked and looked at Duchamp and realized that Duchamp was old. He wanted to be with him; he wondered why he hadn't made an effort to be with him all the time.""
"And easier still, . . . may be mistaken for literary history, which it is not, although . . .
"I grant there is a good deal of . . . imbrication between gossip and biography and criticism and history on the one hand and on the other the work she has actually written, but that is merely a consequence of its genre-indeed such confusions are in the nature of this genre she has recovered, if not invented.
" . . .
" . . . she has afforded a vision of lives of the makers that proposes, as she rolls out the links of the chain, a sort of fraternal structure in which her consciousness-and as a result, ours as wel-can dwell, as if it were the most natural, the most logical thing in the world these days to regard literature and art and music as affording the soul a lodging, indeed a palace of pleasure.
"For that is the secret sense of the braid of lives she has recounted so affectionately, and why I have insisted on the peculiarity of genre . . . The peculiarity that so often asserts "it would be nice to think that they walked down the street together," or "perhaps he waited for her downstairs," or "it must have been the case that she laughed at his joke.""
" . . .
"We are not accustomed nowadays to regard such an array of contacts among the makers, especially American makers, as comfortable, as consoling, even as euphoric. . . . She has had a vision of what Shaw used to call the sanity of art, and what in reading her I would describe as the felicity of engaging in the intimacy of cultural production, something very rare in our moment of subversion and repudiation, when so many notions of the pleasures of the arts, and of art-making, as a primary spiritual resource have been contested.
"It is an indication of the insecurity and the fragility of such pleasure these days that Cohen chooses the term "chance meeting," . . . to identify her governing structure; . . . a visionary author would have call such contacts Fate and revelled in the transcendence of the accidental. It is an evidence of our incomparable modernity that we find it appropriate to attribute the felicities of friendship, and the failures too, to Fortune and not longer to Fate.
"But even under the sign of accident, Rachel Cohen's vision of the life of art in her chosen century . . . is one of an astonishing gladness. Not that she scants misunderstanding or misery, or even the makings of tragedy. But such makings are the kind that compelled Yeats, in his furious old age, to invoke the gaiety of Hamlet and Lear."
Elaine Woo Mildred Jeffrey, 93; Feminist Fought for Civil, Labor Rights, Los Angeles Times 29 March 2004, B9.
Mildred Jeffrey (1911-2004), 2004
"Co-founder of the National Women's Political Caucus in 1971;
"She played a role in the birth of the antiwar Students for a Democratic Society when she arranged for her daughter and a group of fellow University of Michigan activists, including Tom Hayden*, to gather at an AFL-CIO camp at Lake Huron in 1962, which resulted in the Port Huron Statement, the founding manifesto of the SDS and perhaps the most widely read document of the American Left in the 1960s, 2004
David Lebrun <lebrun@ix.netcom.com>
Date: Thu Jan 15, 2004 9:47:48 PM US/Pacific
To: lebrun@ix.netcom.com
Subject: Screenings of Proteus
Dear Friends,
"Greetings! I am delighted to announce that after many years of work, my film Proteus is finally finished. It will have its first public showings over the next two months at the Sundance Film Festival in Park City, the Santa Barbara Film Festival, the University of Southern California, and other venues to be announced. Details below. Please attend if you can, and please pass the word to friends and colleagues who might be interested in seeing the film.
"Proteus is a one-hour animated documentary that weaves poetry and oceanography, technology, history and myth to tell the story of 19th Century biologist Ernst Haeckel, who found in the depths of the sea an ecstatic and visionary fusion of science and art. Proteus was animated entirely from 19th century paintings, graphic art, photographs and scientific illustrations. Narrated by Marian Seldes with voice performances by Corey Burton, Richard Dysart*, Philip Proctor and James Warwick, the film features the sound design of George Lockwood and a wonderful score by Yuval Ron. For more about the film go to our new web site, nightfirefilms.org. (If all goes well the site should be on line tomorrow, Friday Jan. 16. If not, try again in a few days!)
"Proteus will premiere at Sundance, with screenings Jan. 17 at the Holiday, Jan. 24 at the Egyptian, and Jan. 25 at the Holiday. More info at http://festival.sundance.org/filmguide/alpha.aspx. All three of these screenings are sold out, but if you are going to be at Sundance you could try contacting me at the Shadow Ridge Hotel or through Festival Headquarters; I may have a few remaining passes for friends. I will be there as of Friday the 16th.
"The Santa Barbara International Film Festival screenings will be Saturday Jan. 31 at 10:30 AM and Feb. 3 at 4:30 PM, both at the Metro Theater. More info at http://www.sbfilmfestival.org/filmfest/fest2004festprograms.htm#dc. Proteus is in the Documentary Competition.
"The USC screening will be at the Norris theater on the University of Southern California Campus, 2 PM Sunday March 7. This is a free invitational screening for cast, crew and friends. It is not an official LA premiere, so we are avoiding any reviews or public announcements. No tickets, reservations or RSVP required, just come and bring your friends. Its a big theatre and should be able to accommodate us, but come a bit early to be on the safe side.
"We will keep you posted on future screenings as they are scheduled.
"All the best, David"
Mary Leipziger Ocean Park Palm & New Zealand Tea Tree, 2004
This guy's work put me in mind of Tom
Jenkins* work a little, sans the music.
http://www.arthurganson.com/pages/Sculptures.html
(My favorites from this one are the Dododecapede and the
Machine with Abandoned Doll.)
On Thursday, February 26, 2004, at 04:52 PM, Laura Martin* wrote:
"I heard Earl Pomerantz* on NPR today,,, did you catch it? They'll probably replay it several times tonight if you didn't. - L
Calendar Weekend Section page E56 Galleries LA Times, 17 June 2004, p. E56 Compiled by Jess Holl: Openings: Friday
Pocket Book An Exhibition from artists James Hough, Laura Martin and Sam Watters, whose works draw from European fashion, books and furniture, and include painting, drawing, sculpture and video, sixteen: one 2116-B Pico Blvd., Santa Monica, ends July 17. (310) 450-4394"
p. E56 the first announcement is for the Friday opening of Laura Martin's show at Pocket Book, 2116-B Pico Blvd. Her postcard announcement has a Saturday reception from 7 to 10 p.m. The show was curated by Alexis Smith*, 2004.
Michael D's Cafe and Catering, 234 Pico Blvd., 19 June 2004
Anna Elizabeth 'Nancy' Nimitz,* 84; Rand Economist, Researcher, 1 March 2004 Los Angeles Times, B11, 2004, 1952
"Anna Elizabeth 'Nancy' Nimitz*, 84, a Rand economist and researcher and daughter of World War II Pacific Fleet Adm. Chester W. Nimitz, died Feb. 19 of natural causes at her home in Topanga.
"Nimitz earned a bachelor's degree in English literature and library science at George Washington Univerisity and a master's in international relations at Radcliffe. She began her career as a research assistant at the Russian Research Center in Cambridge, Mass.
"In 1952, Nimitz* moved to the Rand Corp., the Santa Monica based think tank, where she specialized in economic studies of Soviet agriculture. Her work involved research on Soviet National Income and Product.
"Nimitz, who loved the ocean, kept a pair of heavy binoculars mounted in her yard, trained on a visible sliver of sea and sand. The binoculars, once belonging to a Japanese destroyer, had been a gift to her late father."
James R. Oestreich Variations on Chance, Anarchy and Silence, The New York Times, Sunday, 25 January 2004, AR 25, 2004, 1987, 1960
""Thoreau was very happy to be little known while he was alive. He said it enabled him to do what he had to do. I'm now very well known. It makes me very happy, because I'm able to do what I have to do."
"Thus a self-analysis of John Cage, rendered in 1987 in the brief film "19 Questions," by Frank Scheffer and Andrew Culver. Not incidentally, that response was 23 seconds long, as dictated by Cageian chance operations imposed on the interview. The other replies ranged from one second (on Octavio Paz: "Indian") to 48 seconds.
""19 Questions" is one of four Cage films by Mr. Scheffer and Mr. Culver on a new DVD from Mode Records (www.mode.com), "From Zero." The others vary widely. "Fourteen" is Cage's chamber work of that name, played by the Ives Ensemble and filmed mildly chaotically. It is pointedly unconducted (by an 'unconductor") and undirected. "Paying Attention" reaps slim benefits from a filmed interview, with most of the speech slowed to a barely intelligible crawl and video as calculatedly jarring. "Overpopulation and Art" offers audio of Cage reading the title poem over his atmospheric work "Ryoanji," and video shot near his homes, rural (in Stoney Point, N.Y.) and urban (Manhattan).
"Cage's inevitable preoccupations - chance, indeterminacy, anarchy and silence - play out in myriad ways. A 48 - second disquisition on conversations is, deliciously, mostly silence. Ultimately, haltingly, a lone aphorism emerges: "I think conversation works best when the second thing that is said is not in the mind of the person who said the first thing."
"The films were shown last week at a festival of Cage music and videos at the Anthology Film Archives in the East Village. The festival ends today with a full schedule of events, including a screening of Cage's 1960 appearance on the television game show, "I've Got a Secret." Indeed, for all that he revealed over the years, he had so many."
{Is a percussionist primarily a keeper of time? Did Cage keep time well?} {"incidentally;" coincidentally; "inevitable;" evitable; "chance;" "indeterminacy;" determinacy; "anarchy;" "silence;"}
Headset Space Settings PLug Research,
CD PLG5,
Release date: 6/29/04
Produced by Jimmy Tamborello (Dntel, The Postal Service) and Allen
Avanessian, with additional production by Daedelus*, John Tejada and
Thomas Fehlmann (The Orb).
Guest appearances by Beans (Anti Pop Consortium), Subtitle,
Non-Genetic, Sach, Metalogic, Rocmon and Lady Dragon
Daedelus* Invention CD/LP and The
Quiet Party featuring remixes by Yesterday's New Quintet and
Priest from Anti Pop Consortium.
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewArtist?artistId=2893092
Daedelus*
Plug Research, SoFa Disk
4519 Santa Monica Blvd.
Los Angeles, CA 90029
email: info@plugresearch.com
http://www.plugresearch.com
Dennis McLellan Marilyn J. Reece, 77; State's First Licensed Female Civil Engineer Los Angeles Times, 21 May 2004, B10, 2004, 1995, 1964, 1963, 1962
"Marilyn Jorgenson Reece, the first woman in California to be registered as a civil engineer and the designer of the San Diego-Santa Monica freeway interchange in Los Angeles, has died. She was 77.
" . . .
"In 1962, she received the Governor's Design Excellence Award from Gov. Pat Brown for the San Diego-Santa Monica freeeway interchange.
" . . .
"The three-level San Diego-Santa Monica freeway interchange, which opened in 1964, was the first interchange designed in California by a woman engineer.
"Urban critic Reyner Banham, author of Los Angeles: The Architecture of Four Ecologies, admired the "wide-swinging curved ramps" connecting the two freeways.
""It is more customary to praise the famous four-level [interchange in downtown Los Angeles]," he wrote, but the I-10 and 405 interchange "is a work of art, both as a pattern on the map, as a monument against the sky, and as a kinetic experience as one sweeps through it."
"Reece told The Times in 1995 that she put her "heart and soul into it" and that she designed the interchange with aesthetics in mind.
""It is very airy. It isn't a cluttered, loopy thing," she said, adding that specifications to keep traffic moving at high speeds necessitated the long, sweeping curves. "That was so you didn't have to slam on the brakes, like you do on some interchanges."
"Reece's daughter said she has a 1962 picture of her mother standing on top of a graded hill with construction of the freeway interchange in the background.
""It's amazing that all that was happening and she was pregnant with her second child," said Bartolotti, who was born in April 1963. "With both my sister and me, when she came back from maternity leave, everyone was surprised because at that particular time as a woman in the work force, once you started having kids your career was over and you stayed home."
"While growing up, Bartolotti recalled, "It wasn't uncommon for my sister and me to talk about what our mom did for a profession, and people wouldn't even believe us. Back in those days, if you were a woman in the work force you were a nurse or a teacher or something along those lines and you certainly weren't a civil engineer."
"In a 1963 story on "lady engineers" in a California Highways and Public Works publication, Reece said she felt that women had an advantage in the field of engineering and "if there's any prejudice toward women, I've not encountered it. Men have always been very helpful; and being a woman has never hampered me in my career."
" . . .
"Stahl recalled that as a child, "we sat around the table and listened to all the conversations. All my toys were engineer-related - Lego bricks, Lincoln Logs and Tonka trucks. We'd go to the beach and I'd build dams and roads and 'public work' sandcastles. So that's what we were exposed to."
" . . ."
Restaurants
Kelyn Roberts, Personal Observations, April, 2004 { . . . }
{239 Hollister Body Outline in Front Lawn, 2004;
{Note the Rose mural; also the family who owns the Indian Restaurant on Main Street and one of the sons has recently remodeled one of the houses in the Ocean Park Historical District on Third St.}
{Derek Shearer*, an Occidental College Professor, went on to become, I believe, an Under-Secretary of Commerce and Ambassador to Finland under the two terms of the Clinton Adminisstration respectively.}, 2004
Santa Monica Daily Press, v. 3, 105 13-14 March 2004 page 1
Photo of the political cartoonist's, Conrad's Scupture, Chain of Peace or Chain Reaction which is on Main St. near the Civic Auditorium, 2004
Santa Monica Daily Press,3, no.138, 21 April 2004
Say you want a revolution? Fuel cell era motors ahead
John Wood, Daily Press Staff Writer
"A local environmentalist on Tuesday helped dedicate the first of 200 hydrogen cell stations officials plan to open in California by 2010.
"Terry Tamminen*, 52, an Ocean Park resident who started two nonprofit environmental organizations before going to work with the State in November, said he expects two dozen such stations to be open by the end of the year, one in Santa Monica.
" . . .
"As secretary of the Environmental Protection Agency, Tamminen introduced Gov. Arnold Schwarzenegger to a crowd of 400 . . .
" . . .
" . . . In Santa Monica, . . . Craig Perkins, director of the environmental works department, said that for more than a year City Hall has leased a hydrogen-powered pick-up truck from a nonprofit organization . . .
"Tamminen founded Santa Monica BayKeeper, a local environmental watchdog group, and was its executive director for six years. . . . When not in Sacramento, he still works with the Santa Monica-based Environment Now Foundation, a private environmental organization."
Santa Monica Daily Press, 8-9 May 2004, p. 6
Music with a colorful bent
"Close to 1,600 third-and-fourth-grade students from the Santa Monica-Malibu Unified School District were treated to a special concert by the Santa Monica Symphony last month at the Civic Auditorium.
"Allen Robert Gross*, conductor and music director, conducted the Santa Monica Symphony Orchestra in A Colorful Symphony with narration by David Avshalomov*. The orchestra also played the very lively Farandole from Bizet's L'Arlesienne Suite No. 2.
"A Colorful Symphony by acclaimed Latino American composer Robert Xavier Rodrigues, is based on the children's book The Phantom Tollbooth, in which a little boy enters a magical world of marvelous adventures, including an encounter with Maestro Chroma, whose symphony orchestra plays the colors into the world.
" . . ."
{Didn't Mordechai Richler write The Phantom Tollbooth? And is it any coincidence that his artist ex-wife did the Body on the Lawn sculpture on Hollister?} {Didn't Macdonald-Wright pioneer the Synchromist modern art movement?}
Carolanne Sudderth Tenants win fight to preserve historic courtyard complex, Ocean Park Gazette, 15 June 2004, 1980s, 1940s, 1930s, 1926,1925, 1920s,
"June 15 - . . . residents of 125 Pacific Street celebrated victory last night when the Landmarks Commission voted to grant their building landmark designation that allows them to retain their homes. Owners of the building, an LLC had applied for a permit to demolish the structure's 24 units and replace it.
"Built between 1925 and 1926, Christie Court is one of two surviving (intact) courtyards west of Neilson (nee Trolley) Way, (The other is the landmark Horatio West Courts at 140 Hollister Ave. two blocks away.) The project consists of 24 adjoined units built in a horsehoe around a broad swath of green lawn. The picnic table set therein has served as a gathering ground and meeting place.
" . . . Resident Mark Hooker led off by presenting a 271 signature petition in support of saving the building. One by one, tenants related different sections of a carefully traced history of the building based largely on the oral histories of people who had lived there.
"In the beginning, the building's placement was a tale of two piers when Santa Monica was a pleasure resort. In addition to enjoying the beach, people came to dance at the prestigious Santa Monica ballroom on the Santa Monica Pier or gamble at Nat Goodwin's cafe on the Crystal/Bristol Pier at the foot of Hollister Avenue.
"The building provided housing for local trades people. During the 20s, a pair of plumbers lived their and walked across Main to their offices in what is now Star Liquor In the 30s and 40s, there were salespeople from Henshey's Department Store and a chef at Casa del Mar Club, and Douglas Aircraft workers during the war years. And in the 1980s, the building served as home for bodybuilders Mr. Mexico and Mr. Japan.
"The staff report stated that the replacement of doors, windows and about half the original rough-stucco finish diminished the complex's eligibility for landmark status.
"Resident Rachel White countered claims that there are more and better examples of courtyard architecture in Ocean Park. She compared the Christie's broad grassy court with the concrete walkways separating the two legs of most courts. "If Christie's Courtyard is normal, than the concrete walkways are positively anorexic," she said.
"Michelle Katz agreed. "That's rather like saying we have landmarked four John Byers houses. Let's bulldoze the rest."
"Hired to design the condos that would replace the complex, architect Ralph Mechur claimed that history does not necessarily a landmark make. He reminded the board that they had the right to document the building while still allowing its demolition. "We all have histories that sort of get tied in. The building does not have the architectural features that are historically significant."he said.
"On behalf of the owners, consultant David Moss protested that the consultants who had not done the historic research for the city were not present and that research on the building that had been completed in March had not been made available until recently. "We just don't recognize the right of the commission to go in this direction without their consultant being present.
"Staff liaison Liz Bar-El responded that the report had been part of a larger document and as such, was not released until it became the packet for last night's meeting. "It is our policy that we do not release these reports to others before we release them to our commissions," she said.
"Commissioner John Berley's point that an older building's where suface details had been altered might have inherent value in the future seemed to have an effect on other commissioners. "One wonders if a building going from a mission revival to a mission revival features that have been removed to a fantasy point where an owner wants to restore it," he said.
"Chair Ruthann Lehrer said that the new features would need to be authenticated if they were replaced post-landmark status, but seemed to stand behind Berley's concept. "What I think is that alterations which are relatively minor - as property types with that landscaped court and it's a special location in Ocean Park. I'm troubled with letting that go, and I think that that's neglected in this analysis."
"The commission voted unanimously to make the building Santa Monica's newest landmark. "
Mark Swed Classical Music Critic's Notebook: The Sound of America, Los Angeles Times, Sunday 25 January 2004. E43, 2004, 2001, 1942, 1941, 1912
" . . .
"Every January, the BBC Symphony devotes a single-minded weekend to a modern composer. Beginning on a Friday night and running all day Saturday and Sunday at the Barbicon Centre, it involves orchestral and chamber concerts, solo recitals, films and talks. BBC Radio broadcasts everything, and television generally picks up a concert or two. In 2001, the composer was John Adams. Last year, it was Mark-Anthony Turnage. Schnittke, Janácek and Ives have been others.
"This time, the event was "John Cage Uncaged: A Weekend of Musical Mayhem." And if "4'33"" was, sonically, the least of it, the most of it was a "Musicircus" that spilled over three floors of the Barbicon's lobby areas and into its art gallery and a men's room.
"Cage, born in Los Angeles in 1912, is known for having changed the idea of what music can be. Shortly after studying with Arnold Schoenberg at UCLA, he realized that silence is as important as sound in a composition and that all noises are musical. He became a pioneer in percussion music - his "Third Construction" from 1941 is now a classic, the most performed work in the percussion ensemble repertory - invented the prepared piano (in which household objects such as screws and nuts are inserted within the instrument to give it new percussive sounds) and devised various ways to compose using chance operations.
"For Cage, who settled in New York in 1942 and remained there until his death 50 years later, music's function was to focus the attention. . . .
" . . .
{I would be remiss if I were to forget that both David Avshalomov and Larry Mace are percussion players.}
Maureen
Tobin & Thomas Young Get A Life . . . Santa Monica
Daily Press, 5 March 2004, p. 9,
Casa Del Mar Hotel by the Sea and Ocean Front Restaurant 2004,
1926
Casa Del Mar Hotel by the Sea,
Foot of Pico Blvd., 1901 Ocean Way
Ocean Front Restaurant
Executive Chef Collin Crannell
Lounge
February: Barbara Morrison and backup combo
Piano, Gerard
Opened in 1926 as a Santa Monica Beach club
Maureen
Tobin & Thomas Young Get a Life . . . Santa Monica
Daily Press, 30 April 2004, p. 9
Via Veneto Ristorante, 3009 Main St. (310) 399-1843
Owners: Marco Cialini, Fabrizio Bianconi, Warren Cuccurullo, Duran
Duran; Chef Ruben Vasquez; Waiter, Pulcione
Colm Tóibín Rinse it in dead champagne: Lindy Woodhead War Paint: Helena Rubinstein and Elizabeth Arden: Their Lives, Their Times, Their Rivalry, Virago, April 2003, 498 pp. London Review of Books, 5 February 2004, pp. 32-34.
Rubinstein begins competition with Arden in 1914 by moving into the New York market. Rubinstein was born in Poland (1872-1966?) and began her business in Australia. Arden (1881) began in Toronto.
"By 1927 American women were buying 52,000 tons of cleansing cream, 26,500 tons of skin lotion, 19,109 tons of complexion soap, 17,500 tons of nourishing cream, 8750 tons of tinted foundation, 6562 tons of talcum powder and 2375 tons of rouge . . ."
David Trotter All of a Tremble: A Review of Hanns Zischler's Kafka Goes to the Movies, trans. by Susan Gillespie, Chicago: 2003, London Review of Books, 4 March 2004, p. 28, 1914
" . . . Karl Rossman, in The Man who Disappeared, escaping from the police, skids on one leg round a corner in a way that seems thoroughly Chaplinesque, and could just conceivably have been meant as such. Kafka had six chapters of the novel in draft by December 1912, and resumed work on it in autumn 1914; Chaplin's tramp took shape in Kid Auto Races at Venice, a Keystone comedy released on 7 February 1914 . . . "
Santa Monica
Venice
"Herbert L. Strock is best known for his cult classics and early science fiction films such as "I Was a Teenage Frankenstein", "The Crawling Hand", Blood of Dracula", and "Gog" among many others. Strock worked on such shows as the pilot for "The Groucho Marx Show" and "Dragnet" and directed many famous "Science Fiction Theater" episodes.
"Vidiots will screen scenes from a wide range of his feature films as well as television shows including many never-on-video selections. Mr. Strock will answer questions after the screening. Find out what went on behind the scenes in the making of early science fiction film and television. His reference book "Picture Perfect", which spans his career and gives practical advice, will be for sale.
Admission is
Free. For further information call (310)392-8508 This is an outgoing
message only. Replies will not be answered. Vidiotslist mailing
listVidiotslist@digitalforest.com
http://lists.digitalforest.com/mailman/listinfo/vidiotslist
S. Irene Virbila Critic's Notebook: He's back for another course, 24 June 2004, Los Angeles Times, E24. 2004, 2002,
"Kazuto Matsusaka* was the first chef at Chinois on Main and then left to open his own Santa Monica Zenzero. He then moved to Paris to direct the kitchen at Buddhabar. Then Barfly on the Sunset Strip, and since 2002 catering for the movie industry. He and his wife, Vicki Fan, have opened Beacon in the Helms Bakery Complex in Culver City."
The Courtauld Institute of Art's Thursday afternoon talks in the Gilbert Collection for August are to be given by Alicia Weisberg-Roberts*, 5/8/04 "Dressing and Design"; 12/8/04 "Writing and Design"; 19/8/04 "A Chocolate Pot"; and 26/8/04, "Dining and Design", all on Silver and Sociability.
Wildflour Pizza, 2907 Main Street, 2004
Ding Yimin China: Underground Detector Proposed to Join Hunt for Gravitational Waves, 16 April 2004, Science, 304 p. 375, 2004, 1915
"Beijing - Using Einstein's name as a selling point, a team of Chinese scientists hopes to build an underground physics facility that will let them join the global search for gravitational waves. The project, if approved, would also mark a significant milestone in China 's support for fundamental research that doesn't promise an economic payoff.
"Gravitational waves were posited by Einstein in his 1915 general theory of relativity. But these subtle ripples in spacetime, postulated to originate in violent events such as supernovas and the collision of black holes, have never been observed. The China Einstein Gravitational Wave Observatory (CEGO) would complement existing observatories such as LIGO in the United States and VIRGO in Europe, as well as LISA, a space- based antenna being developed jointly by NASA and the European Space Agency, and DECIGO, a similar antenna under consideration by the Japan Aerospace Exploration Agency.
"China's effort is led by geophysicist Tang Keyun of the Chinese Academy of Sciences' (CAS's) Institute of Geology and Geophysics. . . .
" . . .
" . . . the California Institute of Technology (Caltech) in Pasadena, the scientific home of the $350 million U.S. instrument {LIGO} . . .
" . . .
"LIGO's director, Caltech physicist Barry Barish*, says it's "much too early" to know what will become of Tang's project. But he's happy to share with the Chinese his team's knowledge or building and operating such observatories. He's written letters of support for CEGO to China's Ministry of Science and Technology, CAS, and the National Natural Science Foundation to fund a series of scientific exchanges with Chinese scientists in fields - from laser interferometry, precision optics, advanced control, and high-vacuum systems to seismic isolation and crystal materials - essential to the project's success. "I wrote the letters to let the Chinese know that other scientists take the project seriously," Barish says.
" . . .
"In a poem that compares the waves to "the arrow of the universe," Tang asks his country "to not shy away from joining this international feat any more, since we have gathered the strength to leap to the frontier of gravitational wave studies." . . .
" . . ."