March 20, 2014
Hotter heat waves in the Valley. Smaller snowcaps in the mountains. Worse flooding during storms on Pacific Coast Highway. Study by study, local scientists are gradually pinpointing the ways in which climate change could impact Southern California. The news has been sobering.
Now, the county is preparing to zoom in on another piece of the picture, with a look at rising sea levels at the 21 beaches it operates and maintains. Approved this week by the Board of Supervisors and funded in large part by a grant from the California Coastal Conservancy to the county Department of Beaches and Harbors, the $86,815 study will run from April to October, and add to a growing body of work on the local impact of climate change.
“There have been broad projections about what sea level rise might look like, but that picture isn’t specific enough for what planners and policy makers need,” says Megan Herzog, a fellow at the UCLA law school’s Emmett Center on Climate Change and the Environment.
Although the City of Los Angeles has made some headway, most notably with a recent study on the potential impact of sea-level changes along the city’s coastline, “most local governments are just at the data gathering stages,” says Herzog. “So we’re really just at the beginning of thinking about impacts and making plans.”
With more than 52 million visitors a year just at the beaches that are county-owned or -managed, a full assessment of the coastline’s vulnerability is critical both to the environment and to the economy, says Kerry Silverstrom, chief deputy director at Beaches and Harbors.
“One study found that sea levels on the West Coast have risen twice as fast over the last five years as they did over the last twenty,” says Silverstrom, noting that the sea level is projected to rise by up to two feet by 2050. “So we need to look at what are we going to do as operators of the beaches to protect them?” she says.
Higher tides not only can flood low-lying buildings and roads, but can also exacerbate storm damage by undermining parking lots and damaging coastal sewer lines. These issues are of particular importance on the county-maintained and operated beaches, which range from Royal Palms in the South Bay to Malibu’s Nicholas Canyon, and include such landmarks as Marina Del Rey, Point Dume and Venice Beach.
The city’s January sea level study, done in cooperation with USC, found that the Port of L.A. and energy facilities along the coast were in good shape to withstand the impact of rising sea levels. However, low-lying communities such as Wilmington, San Pedro and Venice are especially vulnerable, as is Pacific Coast Highway, which already floods regularly in some places when winter storms hit.
The study found that even a moderate storm could do more than $400 million in damage on the city’s share of the beaches if the sea level were to rise here by just 18 inches or so, a mark that easily could be reached by 2050. Also at risk are wastewater and drinking water systems near the high tide line.
Charlotte Miyamoto, head of the planning division at Beaches and Harbors, says the county’s research will have big implications for county public works projects such as sea walls and sand berms—protective structures that the county uses to prevent crashing waves from scouring beaches, undermining parking lots and flooding Pacific Coast Highway.
Although critical in mitigating the ocean’s impact on infrastructure on which the public relies, residents in Venice and Marina Del Rey have complained that the temporary berms, in particular, block their view of the ocean—a complaint that seems likely to be amplified as rising sea levels raise the risk of damage from storm surges.
“How big and wide will we need to make those berms?” says Miyamoto. “Will we want to build structures in the water to deal with erosion? The beaches are our first line of defense as the sea level rises,” says Miyamoto, “and so we want to make sure they’re preserved.”
More broadly, the county study also will help focus policy choices, says Herzog. Already, she noted, coastal cities elsewhere in California are moving bike paths and other amenities away from narrowing beaches and rising tides.
“This region is really densely developed along the coast,” she says. “In some cases, we have development right up along the backs of beaches, and that’s going to mean we have to think about priorities. We have to decide if it’s important to preserve beaches and wetlands and ecosystems, for instance. And if it is, then it’s going to mean tough decisions about development up and down the coast, and it could mean major changes in land policy over the long term. Because something has to move.”
Silverstrom noted that the Beaches and Harbors study, while narrow, is just one part of a broad effort the county has been undertaking for the past two years to prepare for climate change. A series of climate change studies led by the UCLA Institute of the Environment and Sustainability has projected, among other things, that average annual temperatures in Greater L.A. will rise by an average of 4 or 5 degrees by 2050, that days of extreme heat will quintuple in inland areas and the valley and that the area’s mountains will get about a third less snowfall.
So, acting on a 2012 motion by Supervisors Zev Yaroslavsky and Michael Antonovich, county departments across the board have been assessing the potential impact of climate change and trying to mitigate its potential costs.
The county Fire Department, for instance, has revised training protocols to account for the warming climate. The Internal Services Department has been working to reduce the carbon footprint at county buildings and to improve energy efficiency. The Department of Public Works, meanwhile, has been trying to capture more storm water, and to replace gas-fueled trucks with more eco-friendly vehicles.
Silverstrom of Beaches and Harbors says the latest study will help pave the way for short, medium, and long-term solutions to rising sea levels, coastal erosion and more powerful storms in the future.
“This is about resilience,” she says, “about how we can sustain our beaches for the public while recognizing what’s happening in the environment.”
March 13, 2014
Jerry Kohl and his wife Terri are philanthropists from Pasadena and founders of the Brighton’s accessories chain. In their spare time, though, the Kohls are music lovers, and in 2006, they decided to buy one of the rarest and most coveted violins on the planet and make it available to musicians in Los Angeles.
“Stradivarius violins are like wines,” Kohl says. “There are good ones and then there are great ones, and all the great ones were being bought up by countries and museums, so it wasn’t going to be long before they were all gone. I wanted to see a great one here in L.A., and that’s how it started.”
Kohl called the curator of musical instruments at the Smithsonian for advice. He tapped Martin Chalifour, concertmaster at the L.A. Philharmonic. He called Margaret Batjer, the Los Angeles Chamber Orchestra’s concertmaster. He found dealers in London, Chicago and Vienna.
Finally, he narrowed his list to a handful of rare instruments, made during the brief “Golden Period” in which the legendary Italian luthier Antonio Stradivari was said to have done the work of a lifetime. Excitedly, he summoned all the dealers to Disney Hall for a play-off.
And when Batjer began to weep as she played the violin he eventually picked—a 1716 Stradivarius that had belonged to the virtuoso Nathan Milstein—Kohl says he realized he had witnessed “something magic”.
“It was as if she was playing a part of history,” he says.
Eight years later, Kohl and his violin are setting the stage for another magical and historical moment—one that, this time, will be open to all of L.A. From March 26-29, eight Stradivarii from the Golden Period will converge for an unprecedented series of concerts, inspired in part by the private “Strad fest” Kohl got to witness.
“Strad Fest L.A.” will feature some of the most storied instruments on the planet, played by some of the world’s finest musicians. Starting with a private March 26 reception for scholars at the Huntington Library, and encompassing public concerts in Downtown L.A. and Santa Monica before culminating at a Saturday night gala fundraiser, the series will feature not only Kohl’s violin but three other locally-owned Strads. Two will come to town with the violinists who’ll play them, while two more will be brought in from London by the son of Kohl’s dealer.
All told, the event will showcase many millions of dollars worth of 300-year-old masterpieces, a rare gathering, given that fewer than 650 of the 1,000 or so instruments made by Stradivari and his sons are still in existence, and only about 60 or 70 of them hail from the Golden Period, which—depending on collectors’ various definitions—ranges from about 1700 to the late teens or early 1720s.
And if some of the concerts have a “battle of the Strads” feel, it may be because Kohl—a major chamber orchestra supporter who made the largest monetary gift in the orchestra’s history last year—suggested the concept during a brainstorming conversation last year for the annual gala.
“I said, ‘For 300 years, scientists, musicians, violin makers, people of all sorts have tried to figure out why the Stradivarius is so magical’,” Kohl remembers. “’So why don’t you honor the violin?’”
The suggestion became “an inspiration,” the L.A. Chamber Orchestra’s executive director, Rachel Fine, says. “We realized there were actually quite a few Stradivari violins right here in town.”
Last season, for instance, Dr. William Sloan, a urologist and amateur violinist from Los Feliz, and his law professor wife, Judy, had loaned their 1714 “Leonora Jackson” Stradivarius to the orchestra’s assistant concertmaster for a world premiere. Violinists at the L.A. Philharmonic had access to several in the Phil’s collection, including the 1711 Stradivarius formerly owned by the great composer Fritz Kreisler.
The 1720 “Red Mendelssohn” Stradivarius that inspired the Academy Award-winning film, “The Red Violin” has been owned for years by violinist Elizabeth Pitcairn, who teaches at the Colburn School downtown.
Then there were all the friends of musicians at the chamber orchestra who had Stradivarius connections. Cho-Liang Lin, the music director of La Jolla Music Society’s SummerFest, owns the 1715 “Titian” Stradivarius, which is revered for its orange-red color and unusual power. Philippe Quint plays the 1708 “Ruby” Stradivarius, thanks to the Stradivari Society, which loans it to him.
“We started adding more and more Strads and more and more players who could play them,” says the chamber orchestra’s general manager, Andrea Laguni. “And then we decided that it seemed unfair to share this only with the few people who could attend the gala.”
So, Laguni says, they added the Huntington event “to share with another cultural institution and their base of donors,” and then inserted a cameo Strad appearance into an already-planned Thursday night Baroque Conversation. By that time, he says, it seemed only fitting to throw in the Friday night “FiddleFest” at Santa Monica’s Broad Stage, at which the violinists will attempt to outplay each other in a program of solos, duos, trios and quartets. Tickets for that event start at $45; the gala is $750 a head.
The planning took the better part of a year, Laguni says, although it was simplified by the fact that half of the violins—and half of the violinists—are from Greater L.A.
The musicians will range from world-renowned players like Chalifour to newcomers like Ray Ushikobo, a 12-year-old Riverside prodigy. And most will bring violins that they own or that are regularly on loan to them. The exceptions will be Ushikobo and Xiang Yu, another prizewinning young violinist; their violins—the 1666 “Serdet” and the 1720 “Beechback”—will be brought in for the occasion by the son of London violin dealer and expert Charles Beare.
Physician Sloan, who plays his Strad in a string quartet when he’s not loaning it out to professional musicians, says he plans to attend all but one of the StradFest concerts.
“Hardly anybody has ever heard eight Strads together—people buy them and hoard them,” he says. “Years ago, soloists had them, but now they’re so expensive that when the soloist dies and the family sells them, they go through banks or Fortune 500 collectors, like they’re boats or artworks or commodities.”
Periodically, a Stradivarius is stolen, although Laguni says their fame makes them almost impossible to resell. More typically, unscrupulous dealers try to fob off fakes and copies onto unsuspecting collectors, or super-rich investors buy them and take them out of commission. Many of the Stradivari violins in existence have ended up in museums, their famous, rich timbre forever silenced in the name of preservation.
“Every time a government or museum buys one, it’s off the market forever,” says Kohl, who keeps his “Milstein” in a downtown vault when it’s not being borrowed by musicians like Batjer or Chalifour or John William, who recently used it for a performance of the theme from “Schindler’s List” in Orange County.
So has he ever tried to play his?
“Oh, no, no, never, never, never, no,” the music lover says, laughing. “I’m not that brave.”
His preference, he says, is to sit in the audience, to listen and appreciate.
“You can sit in the last seat in the house and hear it,” Kohl says. “It just has this sound that just carries, that you can’t turn away from. It’s like Frank Sinatra walking into a restaurant—you notice. It’s magic. It’s going to be great.”
March 6, 2014
Visit the L.A. Marathon’s Facebook page and you’ll find yourself in a world of hurt.
“I start to lose feeling/circulation from my forearms up to my fingers,” one dispirited runner posted last week during a live chat with Dr. Seth Gamradt, director of Orthopedic Athletic Medicine at the Keck Medical Center of USC.
“I have pain when I bend my knee,” reported another would-be marathoner.
“My legs tend to [go] numb after 5 miles,” said yet another, followed by still others who complained of everything from shin splints to sprained ankles to stress fractures.
But ailing bodies weren’t the only concern as the 29th L.A. Marathon approached. One young woman weighed in with a question that has been the great obsession of the running community for the past several years, one that you might say has led to profound sole searching.
The young woman told Dr. Gamradt that she was worried about having “incorrect running form” and wondered whether she should change her style to land first on her forefoot, rather than on her heel. No way, he told her, it would take months for her body to become accustomed to a new foot strike.
“To dramatically change your stride for no reason is asking for trouble,” Gamradt, a triathlete, said the other day as he recalled the woman’s question. “Some people are developing stress fractures and injuries trying to convert to that style… My whole thing is that if you’ve been running well with your traditional foot-strike pattern, then what’s the reason to change?”
You might think that, of all sports, none could be simpler than one in which you simply put one foot in front of the other, even if it is for 26.2 grueling miles. But during the past few years, a revolution has occurred on the streets and in academia that has called into question the very notion of how we should run and what we should put on our feet, if anything.
In other words, there’s a lot more than meets the eye to those wildly-colored kicks you’ll see pounding the pavement during Sunday’s sold-out L.A. Marathon.
None of this is about getting to the finish line faster, the experts say. It’s about trying to sidestep injuries—a never-ending obsession for most runners, especially those who push their bodies to the brink and beyond.
For decades, running shoe companies have tailored their products to this injury-prone crowd, offering pricey shoes that claim to provide extra stability or cushioning, depending on a runner’s foot and gait. But in 2009, Christopher McDougall’s best-selling book, Born to Run, upended the industry’s conventional thinking and marketing machine.
In his book, McDougall chronicled the seemingly superhuman feats of the Tarahumara Indians of Mexico, who can run 100 miles a day across rugged canyons while wearing flimsy sandals assembled from strips of leather and old tire tread. McDougall argued that clunky, heavily-padded modern running shoes encourage people to unnaturally hit the ground first on their heels, sending excessive impact force through their feet and legs, increasing the risk of injuries. McDougall said his study of the Tarahumara Indians showed that, instead, runners should land gently on their forefoot, wearing as little shoe as possible or none at all.
The next year, a widely-publicized Harvard study seemed to back him up, suggesting that forefoot striking strengthens feet, reduces impact and helps runners avoid or mitigate such repetitive stress injuries as plantar fasciitis and “runner’s knee.”
Almost overnight, the era of barefoot running and “minimalist” shoes was born. Shelves in both specialty running stores and mass-market retailers were soon lined with light, flexible shoes that included a lower heel to help facilitate an easier forefoot strike.
Runner’s World writer Scott Douglas says that in 2012, “when minimalism was in its zealot phase,” he began work on a book about the phenomenon. But by the time “The Runner’s World Guide to Minimalism and Barefoot Running” was published last year, Douglas says, “the pendulum had begun to swing back.”
“I wrote it at exactly the wrong time,” says Douglas, a runner of 35 years. He says there’s now actually “a backlash against minimalism” as runners have come to realize that good, injury-free running involves more than shoes. In fact, a study published in January in the British Journal of Sports Medicine found that runners who switched to minimalist shoes, without slowly adapting to them, had two to three times as many injuries.
“It’s simplistic to think that by putting on new shoes, it’ll fix everything,” Douglas says. “Shoe selection is a part of that but certainly not all of it. The winner of the L.A. Marathon would still look amazing in old-style running shoes.”
Amby Burfoot has the long view of all this, having watched fads come and go in the running community for decades. In 1968, he won the Boston Marathon and has returned every five years since to run the world’s most famous race. A light heel-striker himself, he says that the single most important advice he can give runners is to not take overly long strides, which lead to an excessively hard heel strike.
“Most of the shoe cultist people, especially the ‘barefoot people,’ are now changing their tune. It’s not your shoe but your running form and foot strike that makes the difference,” says Burfoot. “The shoe companies, with their hordes of lawyers, are now being very careful about what they say about injuries and performance. They’re appealing to the soul of the runner, the persona of the runner. No one dares say their shoes will prevent running injuries.”
As for that pendulum, Burfoot agrees that it’s now swinging in a new direction. As proof, he says he need look no further than his own brother, who’s had great success lately with a new wave of shoes with “super thick soles.”
Their nickname: “maximalist.”
For Dr. Seth Gamradt’s tips on how to avoid injuries and stay strong for the marathon, click here.
February 13, 2014
Some people just have a knack for matchmaking. Elaine Seamans, for instance, has arranged hundreds of long-term relationships.
Last Halloween, she helped kindle more than 80 love affairs in a day at the county’s Baldwin Park animal shelter. Dozens more found the mate of their dreams at her Fourth of July and St. Patrick’s Day pet-to-person meetups.
And this week, the county Department of Animal Care and Control will be expanding the shelter volunteer’s signature love fest—a hearts-and-flowers pet adoption extravaganza that has found homes for nearly 100 stray and abandoned animals during the last three years.
“The idea was just to use the holidays to celebrate adoptions,” says Seamans, a 58-year-old Valley Village designer who has been organizing “My Furry Valentine” at the Baldwin Park shelter since early 2011. “But this has just gotten bigger and bigger every year.”
Colorful and festive, the event turns the shelter into a giant Valentine for one day, welcoming prospective pet owners with chocolate, gift bags, music and doggie kisses. This year, each of the county’s six shelters will hold a more or less elaborate version of the Baldwin Park celebration through the Valentine weekend, with the usual $50 adoption fee discounted to a heartfelt $14.
Holiday-themed adoption events have been a growing trend for some time at rescue nonprofits—the Found Animals Foundation has long held an annual “Happy Pawlidays” campaign in December, for instance, and the Best Friends Animal Society holds an “aCATemy Awards” tied to Oscar season. But until recently, it was unusual for a county shelter to initiate this kind of promotion, according to animal control officials.
The reluctance stemmed partly from an ambivalence about holiday adoptions. People are tempted to give pets as gifts, “and having a pet isn’t like getting a sweater that you can return—it’s a lifetime commitment,” says county Animal Care and Control Director Marcia Mayeda.
But, she added, county shelters were also slow to get on the holiday bandwagon because the shelter staff is consumed with day-to-day animal care duties. Only in the past decade, she says, has the county shelter system developed a volunteer program with the base and coordination to do fundraising and event planning, and “a lot of this is dependent on volunteers.”
Seamans, who has been volunteering with Best Friends and other rescue nonprofits since the 1998 death of her dachshund Quackers, had been donating her time for about a year at the Baldwin Park shelter when she suggested to shelter manager Lance Hunter that more could be done to find homes for the bereft dogs and cats in the shelter kennels. That, she says, is when she pitched the Valentine idea.
“It started out as just this little grassroots thing with just a couple of volunteers and some decorations,” says Hunter. But when their usual rate of eight or ten adoptions per day nearly tripled, he says, he took Seamans up on her offer to do more holiday events.
Since then, he says, other county shelters have begun hosting their own festive campaigns, and no holiday has been left behind when it comes to rustling up homes for pets at the Baldwin Park shelter. Last year, Seamans and her fellow volunteers organized events at Christmas, Valentine’s Day, the Fourth of July and Halloween, which Hunter said “topped the charts” at the shelter for holidays.
Among the attractions at the Halloween event were a fog machine and buckets where humans could bob for apples and dogs could bob for cocktail wieners, says Seamans. But “My Furry Valentine” is still the most elaborate promotion.
“Last year Elaine put frames and flowers around the outside of the kennels, and hung signs all over that said things like, ‘Your Best Friend Awaits’ and ‘Your Heart Is Missing Something’,” laughs Hunter. “We even had face painting and a ‘kissing booth’ built with some of the donations. And she got a young actor she knew to dress up as Cupid.”
“This year we’re getting a harpist,” adds Seamans. “This woman is donating her time in honor of her retriever, who passed away in January. Can you imagine? A harp player in the kennel! I’m dying to see how the dogs react to that.”
Mayeda says holiday events not only save pets’ lives, but also generate donations to the county’s Animal Care Foundation and improve morale among the county’s now-thriving ranks of volunteers.
They also put a friendlier face on the county system, says Seamans.
“A lot of people think shelters are scary,” she says. “They think they’re death camps, or where the ‘problem dogs’ go.”
But when people actually meet the pets, she says, they’re less concerned about their surroundings. All three of the dachshunds she has now—Quizzie, Fred and Doodles—were strays or abandoned. And after the 2011 event at which her teenaged actor friend Lou Wegner played Cupid, he returned to shoot a music video at the Baldwin Park shelter to benefit pet rescues.
In any case, she says, few things are more heartwarming than matching the perfect pet with the perfect family. Take, for instance, the note she got from a young mother who adopted a little dog for her 6-year-old son on a therapist’s recommendation last Valentine’s Day.
“Ohhhh, she is soooo good. Her name is Sassy,” the mother emailed. “Since the day we brought her, she let us know when to take her outside . . . She does love the bed, so we suckered her into sleeping with us or the kids. She is perfect for us—thank you.”
And that, she says, is just the product of one love story among hundreds.
“I tell people that the shelter is where your best friend is waiting,” says Seamans. “These animals are out there just waiting to show you how great you are.”
February 6, 2014
It was 50 years ago this summer that four lads from Liverpool took the stage of the Hollywood Bowl, ushering in Beatlemania, Los Angeles-style.
Before the end of their 30-minute set on August 23, 1964, this much was certain:
A long-running love affair between the Beatles and Los Angeles was underway. Initially it involved mass hysteria, stealthy getaways, partying with local swells and celebrity hobnobbing on the Sunset Strip. Eventually it blossomed into “Breakfast with the Beatles,” a record label romance, a song, an uncomfortable meeting with Elvis in Bel-Air, even a Tower Records commercial.
At the same time, the Bowl itself was experiencing an electrifying new chapter in its fabled history, as a generation of screaming teenagers converged on the place where their parents had thrilled to popular stars like Frank Sinatra and classical music greats like Jascha Heifetz and Vladimir Horowitz.
Suddenly, it was a whole new ballgame.
“I think that night in 1964, that’s the most famous concert in American history, not counting Woodstock,” said Bob Eubanks, then a 26-year-old Los Angeles deejay and owner of two “Cinnamon Cinder” nightclubs, who produced the Beatles show by mortgaging his house for $25,000. “The boys at the Hollywood Bowl told us we couldn’t sell this thing out in one day, that it was physically impossible. Well, we sold it out in 3½ hours—without computers, by the way—and away we went.”
Along with thousands of smitten schoolgirls, stars like Lauren Bacall, Debbie Reynolds and Michael Landon turned out for the performance. Gossip queen Louella Parsons had to be relegated to the back benches—“she let us know about that for a long time,” recalled Eubanks, who went on to national fame as host of “The Newlywed Game.”
Ticket prices ranged from $3 to $7. Fans who couldn’t get in climbed trees around the amphitheater as “Twist and Shout,” “Can’t Buy Me Love” and “I Want to Hold Your Hand” rocked the Cahuenga Pass. After the final number, a cover of the Little Richard hit “Long Tall Sally,” the band was whisked away in a tiny compact car and was getting off the 101 Freeway at Sunset Boulevard before the audience knew what hit them. “The kids still thought they were there and they ruined two limos out back,” Eubanks said.
From his vantage point as a deejay at KRLA, the city’s top rock ‘n’ roll radio station at the time, Eubanks had known for months that something big was on its way.
“Suddenly, there were these four guys from England who just changed the world musically,” he said. “Our phones just started to ring off the hook…It started the night they did the Ed Sullivan show, quite frankly. When we heard they were coming to America, the country started to really buzz.”
This year, the buzz is back. With the 50th anniversary of the group’s first appearance on the Sullivan show taking place this Sunday, February 9, there’s no shortage of magazine covers and think pieces analyzing the British Invasion. And the Hollywood Bowl, where L.A.’s adventures in Beatlemania began, this week announced that it is marking the occasion with three “The Beatles’ 50th at the Bowl” concerts in August. (Those aren’t the only ‘60s flashbacks in store at the Bowl, by the way; the summer schedule also includes performances of the musical “Hair”—complete with “simulated drug use” and “brief nudity.” Check out the complete Bowl schedule here.)
Dave Stewart (of Eurythmics fame) will be “ringmaster and musical director” for the August 22, 23 and 24 Beatles shows at the Bowl, which will include yet-to-be-announced special guests and a re-creation of their original musical set from 1964.
Eubanks said he’d like to take part in the shows if possible. As the 50th anniversary approaches, he has also reached out to Paul McCartney. In an email reply, read by Eubanks in a telephone interview this week, the former Beatle demurred about his availability on the anniversary date but sent along reminiscences of the “heady days of our early trips to L.A.” and this message to fans:
“It was a fantastic time for us and I still have many memories of the things that we got up to. It was great to play the Hollywood Bowl even though our music was completely drowned out by the screams of our lovely fans.”
The Hollywood Bowl Museum is gearing up for the occasion as well. Carol Merrill-Mirsky, museum and archives director for the museum and the Los Angeles Philharmonic, which operates the county-owned Bowl, has commissioned a 3-D model of the Beatles in concert. It will be showcased this summer along with the small cache of Beatles memorabilia—including a copy of Eubanks’ contract for the 1964 concert—that’s on regular display.
She also has been combing through old pictures from the Music Center archives to put on display—although there are not a lot of images in the collection from that initial concert. She thinks that’s because, aside from Eubanks, few saw the magnitude of what was about to unfold that night.
“He had an instinct that it was going to be huge but nobody else did. Nobody. Certainly the Bowl didn’t, and the fact that we have so few photographs is proof that it was not a big deal. But it was a big deal to the fans—to those teen fans.”
Despite the frenzy among local teens, not everyone was thrilled to see the Fab Four arrive in Los Angeles in 1964. “They wanted to stay at the Ambassador, but the Ambassador didn’t want ‘em,” Eubanks remembered. A house in Bel-Air, complete with “a pool and the whole nine yards,” was lined up instead.
On the night of the concert, a busload of marshals showed up at the Bowl, ready for deployment to “protect the neighbors up in the hills.” Eubanks thought it was a great idea until he realized he was going to be footing the bill.
As a result, he said, he ended up making only about $4,000 on the 1964 concert. But Eubanks, who went on to produce all of the Beatles’ L.A. concerts—two performances at the Hollywood Bowl in 1965 and a 1966 show at Dodger stadium—did “quite well, thank you” on the later gigs.
He also had the priceless experience of seeing the band’s three-year evolution—from “wide-eyed and curious” in 1964 to seasoned “road warriors” in 1965 to “very difficult” in 1966.
After the last-ever Los Angeles show in 1966, he remembers arguing with John Lennon in the Dodgers’ dugout after the original getaway car failed to make it out of the stadium.
“We got into it pretty good with John down there because he wanted to get to a party. ‘You’ve gotta get us out of here.’ We went nose to nose. And finally I said, ‘I’ll get you out of here.’ We went upstairs and put them in the back of an ambulance.”
The driver “was nervous as heck. He drove right down through 40,000 people…he hit a speed bump and the radiator fell out of the ambulance.”
Finally, they reached a rendezvous point with an armored car that was intended to complete the trip away from the stadium. But it was mobbed with teenage girls and the Beatles’ escape seemed to be foiled again.
“And all of a sudden, I have no idea where they came from, the Hells Angels showed up,” Eubanks said. “They circled the armored car, the kids backed off, and the Hells Angels led the Beatles from Dodgers Stadium. And that was the last time I saw the Hells Angels or the Beatles.”
January 19, 2014
In the early 1880s, an Italian immigrant in San Francisco was charged with trying to collect $500 in insurance by torching his house on Telegraph Hill. The man was innocent but could not afford a decent attorney, and when his trial date rolled around, his lawyer didn’t show.
So the judge, as judges did then, went into the hallway and ordered the first lawyer he saw to represent the defendant. This didn’t bode well, since most court-appointed defense lawyers at the time were not only unpaid but also incompetent.
The lawyer—Clara Shortridge Foltz—was, in fact, just out of law school. But she won the case and used it as Exhibit A in a national push that led to the opening of the nation’s first public defender’s office in 1914 in Los Angeles.
One hundred years later, the Public Defender’s Office of Los Angeles County is marking its centennial anniversary. Some 700 attorneys work there now—more than at any criminal defense firm in the nation—along with hundreds of investigators, paralegals, psychiatric social workers and support staff. Last fiscal year, they defended clients in more than 400,000 felony and misdemeanor cases, not counting the thousands more defendants in juvenile delinquency and mental health courts.
Like Foltz, they occasionally make history. And, like Foltz, they tend not to become particularly famous. (In 2001, when the criminal courthouse downtown was renamed in her honor, the Los Angeles Times noted “a chorus of people saying: ‘Clara Who?’”)
“We usually pick up cases because nobody else is there,” says Alan Simon, a now-retired public defender bureau chief who spent five mostly unsung years representing the Hillside Strangler, Kenneth Bianchi.
“But most of the great names in public defense are not the ones that you see in the headlines. Charlie Gessler was probably one of the best defense lawyers ever. Do you know who he is? Probably not.”
Less obscure are some of the names of the clients represented over the years by the department. The Night Stalker had a public defender. So did the Onion Field killers and members of the Manson and Menendez families. Public defenders played a key role in uncovering the Rampart scandal at LAPD in the 1990s, and handled the crush of cases filed in the wake of both the Watts Riots and the L.A. Riots.
Most of the office’s clients, however, are the kinds of people to whom society tends to pay little attention—the impoverished, the downtrodden, the lost, the addicted, the difficult.
“It’s a calling,” says Public Defender Ron Brown, who has spent 33 years in the office, where turnover for reasons other than retirement averages a miniscule 2 percent a year.
“Our clients aren’t always nice people,” Brown says. “But somebody has to defend them, and vigorously defend them, in order for justice to be done. So what we do is about protecting peoples’ constitutional rights, and people who work here find that this is a place where they can do God’s work, as corny as that may sound.”
As integral as the Public Defender’s Office now is to the legal system, it was a radical notion when it began. It arose from decades of lobbying by Foltz, whose long list of accomplishments included being the first female lawyer in California. With fellow suffragettes and Progressive allies, she sought to balance the odds in the late 1800s against impoverished defendants who were often railroaded by ambitious prosecutors and judges, even though they were supposed to be presumed innocent.
At the time, the state prosecuted people suspected of criminal wrongdoing, but didn’t underwrite any of their defense costs. A judge could appoint a lawyer to represent a pauper. But the court-appointed attorney, who was duty-bound to take the assignment, had to work without pay, or pro bono.
As a result, few competent lawyers made themselves available for such work. Instead, judges typically drew from the lowest ranks of the courthouse pecking order, often strolling out into the hallways and grabbing whoever happened to be around.
Foltz was outraged by the situation. A lawyer’s daughter, she had turned to the law to support herself after her husband deserted her and their five children. She had a soft spot for the poor.
She also had a knack for agitation: When she learned that only white males could become lawyers in California, she hounded the governor into signing landmark legislation to abolish the inequality. When she couldn’t’ get into law school, she sued for admission. Now, pressed into action on behalf of poor clients, she believed the time had come for lawyers like her to be able to make a living.
So she began agitating for legal reforms that would guarantee a paid defense and balance the odds against the defendant. According to a definitive biography of Foltz by retired Stanford law professor Barbara Babcock, she spent three decades campaigning in state legislatures and drafting model statutes before a political tide of Progressives and women—who had just gotten the vote here—led to success in California.
By then, Foltz was working as a deputy district attorney in Los Angeles County, another first for a woman, and was an influential political voice, both nationally and here. In November 1912, Los Angeles County voters approved a charter that included the creation of the Office of the Public Defender, and the following year, it was ratified by the state legislature.
After a competitive exam, the Board of Supervisors appointed Walton J. Wood, a Los Angeles deputy city attorney, as the first public defender in the nation. The office opened on Jan. 9, 1914.
Over the years, according to Public Defender Brown, the office’s focus has changed with the societal landscape.
“In the past, we looked exclusively at winning—at getting the guy out and moving on,” he says. “The thought was that we’re lawyers, not social workers. But in fact, a good lawyer really is a kind of social worker. You end up getting involved with everything from housing to mental health needs.”
To that end, the office now works closely with social services in the county, from children’s services to mental health. It also has helped pioneer the use of specialized courts for addicts, veterans, the mentally ill and women, and has become involved in communities with programs like Parks After Dark.
And as it heads into its next century, he says, the department has added to its diversity in ways that would probably please the suffragette who made it happen: More than half of the lawyers—from trial lawyers to managers—are female now.
December 12, 2013
From the first, it was part of the civic vision—a big, free, central place where Los Angeles would, for once, come together in public on New Year’s Eve.
Even while it was on the drawing boards, Grand Park was being touted as a rival to the big, cold-city countdowns that have always seemed to have the market cornered on December 31st at midnight. At meetings, civic leader Eli Broad talked excitedly about the notion, envisioning televised images of a 12-acre party between The Music Center Plaza and L.A. City Hall.
Now, at last, Grand Park will step up with its first New Year’s Eve celebration, an event that, at least for now, may not draw the hundreds of thousands annually estimated at Times Square, but that is expected to set its own kinds of records with a dazzling technological display that will be the largest of its kind ever attempted on the West Coast.
Of course, there’ll be live music, dancing, food trucks and a cash bar. But the highlight is expected to be a colossal presentation of so-called “3D digital mapping”—a high-tech urban art form that will make L.A.’s iconic City Hall do some things that it may have to blame on the champagne in the morning.
“I don’t think anyone in L.A. has done anything on this scale,” says Jonathan Keith, creative director at Idea Giants, the local consortium of 3D special effects artists who created the extravaganza.
The technology, which employs projectors and sophisticated 3D models to make art out of ordinary landscapes, has been used to turn skyscrapers into everything from ancient ruins to giant dancing monkeys. Windows can seem to extrude, walls can seem to fall away, and—in one stunt hinted at by the creators of the New Year’s Eve show—whole landmarks can seem to disappear and be replaced by Grand Park’s renovated jewel, the Arthur J. Will Memorial Fountain. (Click here for a sample of what digital mappers can do to an unsuspecting building.)
Keith says his team will use a 20-foot stack of five 40,000-lumen projectors weighing about 500 pounds each—state-of-the art equipment. “I believe we have every 40K projector in California for this event,” Keith says. “We needed some major fire power with a structure the size of City Hall.”
The party is the most ambitious undertaking yet for park programmers, who have built audiences for the new downtown destination through a number of high profile events. The biggest was on the Fourth of July, when some 10,000 revelers flocked to Grand Park’s lawns to watch fireworks, but thousands also have gathered for events ranging from a live screening of the 2012 Presidential Elections, Mayor Eric Garcetti’s swearing-in celebration, an assortment of outdoor concerts and CicLAvia.
To that end, Julia Diamond, the park’s director of programming, says organizers have tried to err on the side of caution in planning the New Year’s Eve celebration. Although they’re planning for a repeat of the Independence Day attendance, they also avoided bringing too much celebrity wattage to the entertainment lineup, lest a too-massive turnout spoil the park’s vibe.
“I think especially in this early period, the event isn’t about a person or a band, especially on New Year’s Eve,” says Diamond. “Maybe down the road we’ll go with a big national name, but right now, this space isn’t a 100,000-person venue or even a 30,000-person venue.
“We don’t want to re-create the kind of experience you have at Times Square, where you’re smashed into a packed concrete space where you can’t sit down and can’t move and can’t eat. And the bigger names you have, the more you get of those logistical issues. We want people to come in, find a bench, spread out and enjoy themselves with their families.”
A key question, of course, is: What will the countdown look like? Organizers have been close-lipped about the details, but they will confirm that they don’t want their clock to strike midnight the way Times Square’s does either, although there will be a live feed of the ball dropping for early birds at 9 p.m.
“We can represent the passing of time in ways that are much more creative and dynamic and sleek now,” Diamond says. “The ball dropping is great and iconic, but it’s really analog.”
Beyond that, Diamond says, there will mostly be brightness and action. Images of revelers and their hopes for the New Year will be projected on the Hall of Records, as will names of the various communities of Los Angeles County.
“The first thing people will notice is a sort of neon takeover of the park,” she says. “You’ll be surrounded by lights and color and New Year’s Eve.”
The party will also showcase art installations symbolic of the city by Michael Murphy, Geoff McFetridge and Charles Baker, and dancing by the hip-hop Versa-Style Dance Company.
Dublab, an L.A. nonprofit web radio collective, will provide music, and Fool’s Gold, a Los Angeles Afropop collective, will headline and ring in 2014 with their rendition of “Auld Lang Syne.”
In short, she says, midnight on December 31 promises to be a lot like L.A.—light-hearted, cutting-edge, and—at least lately—a little more interested in community.
“This hasn’t been a place where New Year’s Eve is celebrated collectively, but I think people are more interested in coming together,” says Diamond. “What we’re building is a new tradition for L.A.”
December 6, 2013
The holiday season demands a soundtrack, and for many musicians, this is one of the busiest times of the year.
Just ask Jane Sarture what her ensemble is up to these days.
“We played this morning in a real estate office,” Sarture said. “We’re going to go out to hospitals, senior centers, the Ronald McDonald House charity Christmas party. We’ll be playing at Olive View hospital. We’re going to be at the Kaiser farmer’s market… I don’t think I ever stopped to count yet but I think we have 25 performances across 24 days.”
Sarture is a music director, but she’s not leading a local orchestra, singing group or jazz combo. Her musicians are developmentally disabled adults who play in the ARC Handbell Choir.
Their rendition of “Jingle Bells” may not be the slickest version you’ll hear this season, but it’s undoubtedly the most heartwarming.
“It is inspiring,” said Sarture, 52, a former associate producer of television game shows who switched careers to work at ARC 22 years ago and now accompanies the group on keyboard during their performances.
“The first day I walked in, I was like, “This is so cool.’ It’s like that old cliché: it’s not a job, it’s a calling,” she said of her work at the non-profit ARC (Activities Recreation and Care). The North Hollywood organization offers adults with cognitive disabilities a chance to take part in a wide range of life-enriching activities, from camping and field trips to volunteering at senior centers and even running marathons. The handbell choir is one of the most visible manifestations of the organization’s mission; they’ve performed 11 times since 1999 in the county’s Holiday Celebration, which is broadcast live on KCET. (This video captures one of their previous performances.)
This year, they’re returning to the stage of the Dorothy Chandler Pavilion for the 12th time to perform in the annual Christmas Eve extravaganza, produced by the county Arts Commission and featuring an array of performers in many genres. If past experience is any indication, look for the audience to respond to the handbell choir with a rousing ovation—and perhaps a discreet tear or two.
“People are amazed,” said Jennifer Davis, an ARC employee who conducts the ensemble’s performances and also serves as the organization’s volunteer marathon coach. She ran the New York Marathon this year with ARC client Jimmy Jenson, who has Down syndrome and received national acclaim on the “Today” show for his accomplishment.
“A lot of times people see the young, cute babies and they don’t know what happens [to the developmental disabled] when they grow up,” Davis said. “You’ll see people with tears streaming down their faces and they’ll say ‘I have a six-year-old and to think that my child can grow up and live such a phenomenal life.’ ”
Davis said an overarching message behind the group’s success is a determination to look past what people can’t do and focus instead on what each individual is capable of.
“When we look at what we can do, and what we can contribute, that’s when community and the real music in life happens,” she said.
ARC’s handbell choir has been jingling all the way since 1985 and now performs year-round.
They don’t charge for their performances, but happily accept donations, which Sarture said can range from “a great lunch and a couple of candy canes” to a check for $50 or even $2,000.
It all comes in handy when you’re trying run a handbell choir.
“It’s an expensive operation,” Sarture said. “If you drop a bell, it’s $200.”
There’s plenty of music in the air, but one thing you won’t hear from this group is any complaining about how busy things get when the holidays roll around.
“It’s amazing,” said one performer, 34-year-old Hillary Shaw, after an evening performance at a holiday open house in Supervisor Zev Yaroslavsky’s Van Nuys district office this week.
And as for Sarture? “It’s a blast,” she said. “It’s my favorite time of the year.”
November 13, 2013
It’s not easy to re-imagine the largest voting system in the nation, but it doesn’t hurt to have the company behind stand-up toothpaste on your team.
For the past year or so, Los Angeles County has been working closely with IDEO, the innovative Bay Area design firm, to help with the county’s multi-faceted initiative to update its antiquated voting apparatus. The challenge is a big one: The county’s system serves some 4.8 million registered voters in 11 languages at some 5,000 polling places, and is currently using technology that dates, in some cases, to the 1960s.
So in an effort to think creatively about the future, the office of the Registrar-Recorder/County Clerk and the committees guiding the county’s Voting Systems Assessment Project reached out to a firm whose groundbreaking design work goes back to Apple’s first computer mouse in the 1980s.
“We wanted to focus on innovation, and we were attracted by their philosophy of design that’s human-centered,” says Efrain Escobedo, governmental and legislative affairs manager for the Registrar-Recorder/County Clerk’s office. IDEO, he says, studies “what the experience is underlying a project—whether it’s a filling station or a vegetable peeler—rather than just designing around what’s cheapest.”
Created as a merger of four design firms—one in Palo Alto, two in San Francisco and one in London—IDEO, which is now global, specializes in cutting-edge product and organizational design. One of its founders, David Kelley, was close friends with the late Apple co-founder Steve Jobs, whose elegant products became a computer industry standard. But IDEO’s work has run the gamut, from upright dispensers for Crest toothpaste to a rethinking of school lunches.
Initially, Escobedo says, the county learned about IDEO during an experiment with crowdsourcing in which the county put out a call for ideas on the future of voting through OpenIDEO, an online platform and community. But in early 2013, after conducting its own extensive data-gathering process, the county engaged the company’s consultants to help analyze the research under a series of short-term agreements worth about $1 million.
Among IDEO’s objectives is a rethinking of the traditional voting machines so they not only accommodate voters in a multiplicity of languages and settings, but are also universally accessible no matter the voter’s age, education, familiarity with the process or physical abilities.
“We’ve delivered three really, really rough concepts that we’re working now to whittle down into one,” says Sarah Rienhoff, IDEO’s public sector lead on the voting project. Visual renderings and mock-ups have ranged from boxy one-stop, hands-free voting stations to lightweight podium-like contraptions that can be easily moved around by poll workers and stored.
To augment data the county gathered, IDEO consultants examined on their own the extremes of the voting spectrum—newly naturalized citizens, older voters, young voters, people who had stopped voting and people with physical limitations that impacted their use of the existing system.
That last group was especially important, in part, because advocacy groups for the disabled have sued over issues such as the lack of touch-screens and the paper ballot requirement—mandates that, they contend, make voting harder and less private for visually-impaired voters.
So, Rienhoff says, the group put a special emphasis on disabled voters. One focus group brought county staffers nearly to tears as a man with cerebral palsy talked about the alienation of being shunted off to vote in a separate booth for handicapped people.
Another exercise took the form of an educational field trip.
“We did ‘dining in the dark’ at Opaque, a restaurant in Santa Monica where all the [servers are] visually impaired or blind and the customers eat in a fully dark dining room,” says Rienhoff, adding that they went back the next day to interview their waiter—one of more than 44 individual interviews they conducted last spring.
The IDEO group also studied lottery kiosks as an example of a system in which decision-making is paired with convenience and observed elections in Pasadena and Compton to compare voting in diverse communities.
What’s more, the firm’s creative approach served to inspire the Registrar-Recorder staff, Escobedo says. Among other things, they created an “idea wall” in the executive office in Norwalk after visiting IDEO’s workspace.
As the project’s self-imposed 2016 deadline approaches, some broad outlines have begun to take shape. For one thing, Escobedo says, it is clear that the new system won’t include voting via Internet or smart phone, at least for now, due to security concerns.
That, however, doesn’t preclude the possibility of the vote-by-mail option morphing someday into a scanned ballot sent by encrypted email, or a digital tablet onto which voters can electronically upload their pre-marked decisions. Also, look for bigger ballots, voting machines with universal design and hands-free access and possibly a voting process that revolves less around a single day at a single polling place than, say, a 2-week voting “window” or community voting centers.
“By the end of the year, we hope, we’ll have an actual final design concept that we can begin to engineer,” says Escobedo, who expects to start prototyping some time next year.
One aspect of the process is unlikely to change, however: That little “I Voted” sticker?
“Oh, that’s a mandatory do-not-leave-out,” laughed Escobedo. “People love that. It’s not going anywhere.”