• Power Outage Doesn’t Stop Shakespeare

    By John Farrell, Curtain Call Writer

    William Shakespeare had more than his share of production headaches back when the Globe Theater, the original Globe Theater, was operating.

    Never mind the fact that his female characters had to be played by men — effeminate men, no doubt, but still.

    Never mind that his scripts had to be hand written. (His complete plays weren’t published until after he had been dead a few years.)

    No, those were small problems. How would you react if the Lord Chamberlain closed your theater occasionally for religious reasons, or political ones, and you couldn’t do much but pray the politics would change shortly?

    How would you react of the playhouse was closed in times of plague? There were no real health professionals back in the 1600s: you and your company might just die (or have to move into the country, to Stratford upon Avon, perhaps, where your pesky wife Anne Hathaway and her second-best bed were waiting for you.

    Yes, there were lot of problems back then, but we’d be willing to bet that the problems Theater Elysium San Pedro Rep has encountered bringing their production of Much Ado About Nothing to their San Pedro stage were problems that even the Bard of Avon didn’t encounter. Much Ado About Nothing recently opened in previews. Opening night is March 20 at 7:30 p.m. and the play will continue at TE San Pedro Rep Fridays, Saturdays and Sundays at 7:30 p.m. through May 3. That is, it will continue as long as the power grid allows.

    That’s right, the power grid. Speculate all you want about whether Shakespeare is Shakespeare or whether he is actually the 17th Earl of Oxford, Christopher Marlowe, the 6th Earl of Derby or perhaps Sir Francis Bacon. (Earls are big in the list of 80 or so candidates for Shakespeare’s glory: princes need not apply.) But no matter who wrote or didn’t write Shakespeare, no one had to experience a power outage at their theater. Maybe a candle or two guttered, maybe a torch went out. But there was no 16th century power grid to go out.

    On the other hand, the San Pedro power grid is, at least occasionally, unreliable. TE San Pedro Rep is housed in a former doctor’s office on 7th St, near Mitzi’s Strudel and the Whale and Ale, across the street from Godmother’s. And last week, during the two days that company co-founder and Much Ado director Aaron Ganz had allotted for technical rehearsals (those are the rehearsals where lighting and sound are checked) the power down both sides of 7th Street was out.

    Surprisingly, Little Fish Theatre, which shares an alley with TE San Pedro Rep, had no problems. But then, according to one former downtown San Pedro businessman, the grid runs down both sides of the street, so Little Fish, facing 8th Street, wouldn’t be affected by an outage on 7th Street.

    Ganz was on the afternoon bus that this reviewer took to San Pedro a week ago. He lives in San Pedro and works a day job in downtown. I was going to San Pedro to see The Ladies Foursome at the unaffected Little Fish.

    Ganz was positively cheerful about the technical contretemps, even though Much Ado About Nothing was going to open the next evening. “We had a power outage for two days,” Ganz said with a smile. “It closed down both sides of the street: Godmother’s had to close, and we had to do out tech rehearsals later.” He seemed sure that the show would go on: apparently in the theater that motto is actually believed.

    Much Ado About Nothing is the first offering from TE San Pedro Rep in their second year in San Pedro, a year that has seen much-acclaimed productions of Hamlet, Wouldn’t It Be Lovely, The Lady of Shallot and Oedipus, all intriguing and very different works, all a credit to the company, which also offers acting classes at its San Pedro home. In the next few months TE San Pedro Rep will be offering The Underpants in an adaptation by Steve Martin, Joan of Arc conceived and directed by Ganz, The Vanek Trilogy by Vaclav Havel and Chekhov’s Three Sisters, power outages or not.

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  • KJazz Move Results in CSULB Yard Sale

    For decades 88.1, KKJZ, has harmonized and jazzed up Cal State University Long Beach campus, but this week it will all come down to a yard sale.

    The nonprofit station recently moved to Westwood, where Global Jazz — the company that runs it — is headquartered. The move finalized March 7, from the Chuck Niles studio.

    An asset sale is scheduled from 9 a.m. to 3 p.m. March 14, which Global Jazz is calling KJazz Music Mart. The Music Mart will take place at the Cal State Long Beach Foundation parking lot, 6300 State University Drive in Long Beach. Jazz, blues, Latin jazz and swing CDs will be available. Vinyl, DVDs, books and merchandise also will be available — Sinatra to Ella to Coltrane.

    Venue: Cal State Long Beach Foundation parking lot

    Location: 6300 State University Drive, Long Beach

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  • RLn ENTERTAINMENT: March 10, 2015

    March 12
    Thursday Night Live
    The Port of Los Angeles High School presents Thursday Night Live, starting at 7:30 p.m. March 12, at the Grand Annex in San Pedro.
    POLAHS advanced drama class will be taking on this comedy variety show filled with hilarious student-written sketches, original characters and whacky bits.
    Details: (310) 833-4813
    Venue: Grand Annex
    Location: 434 W. 6th St., San Pedro

    March 13
    Kathleen Grace
    Singer-songwriter Kathleen Grace will perform at 8 p.m. at the Grand Annex. Her style has been described as a mix of jazz and classic country, which can be heard on her upcoming album, No Place to Fall.
    Details: (310) 833-4813
    Venue: The Grand Annex
    Location: 434 W. 6th St., San Pedro

    March 13
    Paddy Keenan
    Paddy Keenan will perform at 8 p.m. March 13, at Alvas Showroom in San Pedro.
    Paddy’s flowing, open-fingered style of playing can be traced directly from the style of his father and grandfather, as well as that of such great travelling pipers as Johnny Doran.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 14
    Cash’d Out – Johnny Cash Tribute
    Cash’d Out, the Johnny Cash tribute, will take place at 8 p.m. March 14, at the Grand Annex in San Pedro.
    General admission is $25 and $30 at the door.
    Details: (310) 833-4813
    Venue: Grand Annex
    Location: 434 W. 6th St., San Pedro

    March 14
    Doug MacLeod CD Release Party
    Doug MacLeod is having his CD release party at 8 p.m. March 14, at Alvas Showroom in San Pedro.
    Doug MacLeod is winner for The Blues Music Awards for Acoustic Artist Of The Year and Acoustic Album Of The Year 2014.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 14
    DSB a Tribute to Journey
    DSB a Tribute to Journey takes place at 9 p.m. March 14, at Harvelle’s Long Beach.
    DSB has been highly revered by fans as the “next best thing” to Journey.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 15
    Sherman Brothers
    The sibling songwriting team of Richard and Robert Sherman will perform, at 3 p.m. March 15, at the Redondo Beach Performing Arts Center.
    The couple penned some of the most memorable melodies in the Walt Disney songbook and helped to create a soundtrack to the lives of multiple generations. Selections include Mary Poppins, The Jungle Book, Winnie The Pooh and Chitty Chitty Bang Bang, as well as a medley of recognizable themes from Disney parks and rides and a medley of the duo’s 1950s rock ’n’ roll hits.
    Details: BUY TICKETS NOW!
    Venue: Redondo Beach Performing Arts Center
    Location: 1935 Manhattan Beach Blvd., Redondo Beach

    March 15
    Blues Alive
    Blues Alive will perform at 4 p.m. March 15, at Alvas Showroom in San Pedro.
    Since bursting on the south bay music scene Blues Alive has been making waves, playing an eclectic mix of blues and rock ’n’ roll.
    Cost is $25.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 15
    Sunday Jams
    Enjoy Sunday Jams, starting at 9:30 p.m. March 15, at Harvelle’s Long Beach.
    Harvelle’s Long Beach presents some of the best local artists.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 19
    The Toledo Show
    The Toledo Show takes place at 9 p.m. March 19 and 26 at Harvelle’s Long Beach.
    Toledo is a soul singer, jazz man, poet, dancer, choreographer, connoisseur of haberdashery and probably one of the most dramatic and entertaining performers you will ever see. There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 20
    Doug C and the Blacklisted Hillbilly Stomp
    Doug C and the Blacklisted Hillbilly Stomp perform at 9 p.m. March 20 at Harvelle’s Long Beach.
    Doug C and the Blacklisted are for folks who like Hank Williams Sr but also have an understanding of Elvis, Black Flag and the Cramps.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 21
    Dale Fielder Quartet 20th Anniversary Performance
    The Dale Fielder Quartet will have its 20th anniversary performance at 8 p.m. March 21, at Alvas Showroom in San Pedro.
    Dale Fielder is an American jazz saxophonist, composer and band leader.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 21
    Seduction
    Bobbie Burlesque Presents: Seduction at 9:30 p.m. March 21, at Harvelle’s Long Beach.
    Seduction is a classic burlesque strip show.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 22
    L. Young
    L. Young will perform at 8 p.m. March 22, at Harvelle’s Long Beach.
    L.Young has established himself as an artist, writer and performer.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 25
    Wicklow Atwater, James Hanicutt, & Hangdog Hearts
    Wicklow Atwater, James Hanicutt, & Hangdog Hearts perform at 9 p.m. March 25 at Harvelle’s Long Beach.
    The members or Wicklow Atwater and The Fallen Flame were born and raised in the same neighborhood and have been the best of friends since childhood creating an unbreakable bond that is more than just friendship – it’s a brotherhood.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 27
    Carl Verheyen
    Carl Verheyen will perform solo acoustic guitar, starting at 8 p.m. March 27, at Alvas Showroom.
    In his 40-plus years of playing the instrument, Carl has created a wildly successful, multi-faceted career.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 27
    The Naughty Show
    Sam Tripoli presents The Naughty Show at 9:30 p.m. March 27, at Harvelle’s Long Beach.
    Sam Tripoli views comedy as a calling rather a profession.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 28
    Bruce Baker & The Altered Presence Jazz Band
    Bruce Baker & The Altered Presence Jazz Band will be having a CD release at 8 p.m. March 28, at Alvas Showroom in San Pedro.
    Bruce Baker is focusing on his own jazz compositions, and is becoming known for his ability to write many jazz styles such as straight-ahead, bebop, Latin, blues, and Broadway-style vocal melodies, yet maintaining a unique, recognizable and unforgettable sound of his own.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

    March 28
    Circus of Sin
    Circus of Sin takes place at 9 p.m. March 28, at Harvelle’s Long Beach.
    There is a two-drink minimum. Only people 21 years or older are admitted.
    Details: (562) 239-3700
    Venue: Harvelle’s Long Beach
    Location: 201 E Broadway, Long Beach

    March 29
    Janis Mann & Bill Cunliffe Duo
    The Janis Mann & Bill Cunliffe Duo will perform at 2 p.m. March 29, at Alvas Showroom in San Pedro.
    An exciting and engaging performer, Janis’ rich timbre, flexibility and range often invite comparisons to Sarah Vaughan. It features an in-studio collaboration with pianist Bill Cunliffe, bassist Christoph Luty and drummer Roy McCurdy.
    Details: (800) 403-3447; www.alvasshowroom.com
    Venue: Alvas Showroom
    Location: 1417 W. 8th St., San Pedro

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  • RL NEWS: March 9, 2015

    ‘Peel Off’ Program Speeding Up Cargo through POLA
    SAN PEDRO— A new program that expedites cargo by streamlining container moves is speeding up operations at the Port of Los Angeles.
    Launched Feb. 25, the “Peel Off” Program has added a new operational model to the port to clear the current backlog of containers and improve the flow of cargo going forward.
    The port teamed with stevedoring company The Pasha Group, harbor trucking firm Total Transportation Services Inc., several marine container terminal operators and a core group of major retailers to create the program. The program involves “peeling off” containers of high-volume customers to a near-dock yard where they are sorted for destination to inland distribution centers.
    Under “Peel Off,” import containers loaded with goods belonging to high-volume shippers are stacked together in a block upon arrival at the port. The terminals expedite Total Transportation Services Inc. trucks through their gates to retrieve the containers and deliver them to the near-dock yard less than a mile away where they are sorted. The same trucks loop back to the terminals for the next inbound container. The trucks keep boxes moving by delivering outbound containers on the return leg.
    The “Peel Off” yard is at Navy Way and Reeves Avenue on port property.
    The yard is open six days a week from 7 a.m. to 3 a.m.  Seventeen acres are available for staging up to 500 containers. As demand grows, the facility can operate 24/7 and accommodate up to 650 containers.
    International Longshore and Warehouse Union workers handle all gate and terminal operations at the “Peel Off” yard, including on-site chassis inspection, maintenance and repair.
    Cargo owners can move their containers through the “Peel Off” yard in less than 48 hours and make those trips at night during off-peak traffic hours. Total Transportation Services Inc. has leased 250 chassis to ensure containers are on wheels and ready to roll. The parties are also coordinating their efforts with the new interchangeable chassis pool launched March 1 in the harbor complex.
    Planning for “Peel Off” preceded the recent congestion problems that surfaced at all West Coast ports, but it is already helping to clear the backlog of cargo in Los Angeles. The program is open to all container terminals and may be expanded to other locations in the Port of Los Angeles.
    Port initiatives include testing Web-based technology for increasing truck moves and working with terminal operators on business planning.
    The Port of Los Angeles is also pursuing new strategies with the Port of Long Beach to achieve greater supply chain efficiencies throughout the region now that the two ports have clearance from the Federal Maritime Commission to coordinate their efforts.

    Garcetti Signs Directive for Film Friendly Campaign
    LOS ANGELES — On March 4, Los Angeles Mayor Eric Garcetti announced that he will add onto the entertainment industry agenda through an expanded film tax credit.
    Assembly Bill 1839 is aimed to help cut red tape, coordinate city departments and promote job production in the film industry, Garcetti said in a statement.
    The entertainment campaign, “Greenlight Hollywood” looks to ensure that the Los Angeles production maximize the benefits of the $1.6 billion incentives that will be available. These incentives include making city hall more film-friendly and proposing budgets to invest in city services that would encourage entertainment jobs.
    Board of Public Works President Kevin James will serve as city hall’s chief film liaison. His main duties will include eliminating city bureaucracies and working with the mayor’s senior advisor for entertainment industry issues, Ken Ziffren said.
    Garcetti’s executive directive requires all city departments to appoint a film liaison who will work with the industry to make departments more film friendly. The Economic and Workforce Development Department will have a list of city-owned properties for the industry to use free of charge.
    During Oscar Week in Hollywood, Garcetti announced his “Greenlight Hollywood” campaign, trying to target studio green light committees and talent agencies to promote Los Angeles as the premier destination for entertainment production. The campaign will last until April.


    LAPD Chief’s Recommendation Noted in Obama Task Force Report

    WASHINGTON, D.C. — Los Angeles Police Department Chief Charlie Beck’s recommendations were mentioned in a recent interim report that President Barack Obama’s Task Force on 21st Century Policing published.
    The report was published March 4.
    On Jan. 30, the task force hosted a public listening session at the University of Cincinnati’s Tangeman University Center Great Hall.  Members of the task force heard testimony from five panels of witnesses on effective use of evidence-based research, use of force policy, diversity in law enforcement and best practices for police interaction during demonstrations.
    Beck discussed his continued effort to evolve and refine strategies to further the LAPD’s mitigation of crime, the reduction of gang violence, the containment of terrorism and the continuation of reforms. The chief also spoke on turning a time of crisis into an opportunity to engage in dialog with the community and how the department has taken a hard, honest look at what can be done better in terms of evolving the culture of policing, building greater trust and communication with the community.
    Beck also spoke about how the department is formally governed by the Board of Police Commissioners and how the department has a well-established civilian oversight system in place. The system is supposed to set broad policy and hold the chief accountable, as well as encouraging collaboration.
    On March 1, a video posted on Facebook of officers killing a homeless man in downtown Los Angeles went viral, just three days before the report was published.
    The LAPD said officers were responding to a report of a robbery when a man tried to fight them as they approached. During the struggle, according to the LAPD, the man, later identified by the name “Africa,” reached for an officer’s gun, prompting police to open fire.
    The officer and a sergeant involved in the shooting were both wearing body cameras. It’s been reported in the Los Angeles Times that the body camera footage supports the events depicted in the video captured by a bystander.
    The police department’s policies regarding the devices and access to their footage is still being finalized. However, Beck said he does not want to publicly release the recordings unless required to do so for court proceedings.
    The report was published the same day as the Justice Department showed the results of an investigation on the killing of Michael Brown by Officer Darren Wilson in Ferguson, Mo.
    The investigation concluded that there wasn’t enough evidence against Wilson federally. It also concluded that evidence corroborated Wilson’s claim that Brown reached into the car and struck the officer and that claims that Wilson grabbed Brown first were inconsistent physical and forensic evidence.
    The following is an excerpt from pages 20 and 46 of the Interim Report on
    21st Century Policing:
    2.1 RECOMMENDATION: Law enforcement agencies should collaborate with community members to develop policies and strategies in communities and neighborhoods disproportionately affected by crime for deploying resources that aim to reduce crime by improving relationships, greater community engagement, and cooperation.  The development of a service model process that focuses on the root causes of crime should include the community members themselves because what works in one neighborhood might not be equally successful in every other one.
     
    Larger departments could commit resources and personnel to areas of high poverty, limited services, and at-risk or vulnerable populations through creating priority units with specialized training and added status and pay. Chief Charlie Beck of the Los Angeles Police Department (LAPD) described the LAPD’s Community Safety Partnership, in which officers engage the community and build trust where it is needed most, in the public housing projects in Watts. The department has assigned 45 officers to serve for five years at three housing projects in Watts and at an additional housing project in East Los Angeles. Through a partnership with the Advancement Project and the Housing Authority of the City of Los Angeles, the program involves officers going into the housing developments with the intent not to make arrests but to create partnerships, create relationships, hear the community, and see what they need—and then work together to make those things happen.33
    2.1.1 ACTION
     
    4.5 RECOMMENDATION: Community policing emphasizes working with neighborhood residents to co-produce public safety. Law enforcement agencies should work with community residents to identify problems and collaborate on implementing solutions that produce meaningful results for the community. As Delores Jones Brown testified, “Neighborhood policing provides an opportunity for police departments to do things with residents in the co-production of public safety rather than doing things to or for them.”81 Community policing is not just about the behavior and tactics of police; it is also about the civic engagement and capacity of communities to improve their own neighborhoods, their quality of life, and their sense of safety and well-being. Members of communities are key partners in creating public safety, so communities and police need mechanisms to engage with each other in consistent and meaningful ways. One model for formalizing this engagement is through a civilian governance system such as is found in Los Angeles. As Chief Charles Beck explained in testimony to the task force, The Los Angeles Police Department is formally governed by the Board of Police Commissioners, a five-person civilian body with each member appointed by the mayor. The Commission has formal authority to hire the Chief of Police, to set broad policy for the department, and to hold the LAPD and its chief accountable to the people.82 Community policing, therefore, is concerned with changing the way in which citizens respond to police in more constructive and proactive ways. If officers feel unsafe and threatened, their ability to operate in an open and shared dialogue with community is inhibited. On the other hand, the police have the responsibility to understand the culture, history, and quality of life issues of the entire community—youth, elders, faith communities, special populations—and to educate the community, including its children, on the role and function of police and ways the community can protect itself, be part of solving problems, and prevent crime. Community and police jointly share the responsibility for civil dialogue and interaction.
    46 Interim Report of the President’s Task Force on 21st Century Policing

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  • Obama on the 50th anniversary of Bloody Sunday

    President Barack Obama spoke before thousands on March 7, during a commemorative ceremony for the 50th anniversary of the events of “Bloody Sunday,” when more than 600 non-violent protesters were attacked by Alabama state troopers as they attempted to march from Selma to Montgomery for voting rights:

    It is a rare honor in this life to follow one of your heroes. And John Lewis is one of my heroes.

    Now, I have to imagine that when a younger John Lewis woke up that morning fifty years ago and made his way to Brown Chapel, heroics were not on his mind. A day like this was not on his mind. Young folks with bedrolls and backpacks were milling about. Veterans of the movement trained newcomers in the tactics of non-violence; the right way to protect yourself when attacked. A doctor described what tear gas does to the body, while marchers scribbled down instructions for contacting their loved ones. The air was thick with doubt, anticipation, and fear. They comforted themselves with the final verse of the final hymn they sung: (more…)

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  • My Kindle, My Birds & Me

    By Lionel Rolfe

    After several years of deliberation, I finally purchased a Kindle.

    I now own my very own digital reading device that has all the books I can read on it. There’s lot that’s unsettling about the device, but that’s not entirely bad — just caused a bit soul searching.

    Getting the Kindle turned out to be a really big deal for me, and a revelation. For one thing, I realized how much I was an old man living through revolutionary times.

    I am preparing for exiting this veil of tears, not right away, I hope, but soon enough. I’m stumbling down the last league. As a result, I no longer feel a compulsion to be on the cutting edge. I’ve lived long enough to see too many cutting edges come and go. One of the things that my friends know about me is that I’m quaint in my appreciation of music. I grew up turning pages for my concert pianist mother, especially when she played the Kreutzer. I played classical guitar until I was 13 or so and haven’t touched an instrument since.

    But music never lost its magic. I just felt that there were others who could give it that magic better than I. When I got into my late teens, jazz proved intriguing. Folk, blues, and the very greatest voices like Paul Robeson and Edith Piaf turned me on. Rock never made the cut. I rarely heard that much genuine genius in it, and mostly I saw it as an essentially corporate product. When Bob Dylan electrified his guitar, I lost interest.

    It is sadly obvious that the digital transformation of our times are shaking things up like was done by Gutenberg and his Bible a few centuries back.

    Printed books were really an incredibly comfortable and convenient medium —and may remain so forever, as far as I know. I’ve always enjoyed reading in bed, reclining rather than sitting, and holding a book in whatever is the best position at the moment. But let me tell you the simple truth that lies behind all great changes. They are based on simple things.

    Print replaced men and women sitting at a desk with a quill, with no hope of their words getting around much. Then you could replace those quills with typewriters and typesetting machines and printing presses and give your words a whole new universe. Then there’s the digital revolution, which might end up being as important as the Gutenberg press.

    For the past few years I haven’t been able to do much reading lying in bed. Mostly, I read while sitting at a computer and the thought of reading War and Peace there is most unattractive. Great books, I think, are meant to be read leisurely. I read enough journalism and the like while sitting down in front of my computer, but getting into a real book, that’s become another matter.

    Let me explain. When I finally retire to my bed, and could maybe read a real book, I can’t because my African Gray Oliver and three cocktails also live in my bedroom. When I get home, they expect attention because with my appearance, the flock wants to celebrate that I’m home. That doesn’t mean reading a book.

    This problem was easily solved by my wonderful new Kindle. I no longer have to keep a light on to read a “book.” The page provides its own light, and that’s enough. I remember back in my days, they used to sell reading lights, but they never really worked well. Finding a place to clip them to something proved to be a bigger problem than it should have been. True, with a Kindle, you can also read on the beach, with light spilling out from the heavens everywhere.  Or you can read in the darkest closet, if you want. Here is where I made a revelation that might not seem so earth shaking at first, but it truly is.

    Now, I’m not blaming  the parrots for having kept me from doing a lot of good, soul-satisfying reading of late—but maybe I am. It’s an issue of how could I read comfortably with the birds. When you get older, it’s hard to get comfortable. You have new aches and pains, you toss and turn to find the best position, whether you end up on your backside or front. But with a Kindle, which is lighter than most books, you can turn off the lights to quiet the birds down, and all the light in the world is only one place—the page you’re focusing on. Bird problem solved. I can now read the Bible and all of Shakespeare if I want and the birds don’t have to know the better.

    My birds are tyrants. They want my undivided attention. Sometimes I have to say no. I’m not playing with you tonight. That means no putting them on my shoulder or rubbing their little heads. If the light stays off they’ll usually ignore me. But if even a small light is on so I can read, they pester me until I give up reading. They yap at me like ill-mannered canines, saying you’d better take me out or I will shit on your carpet.

    Kindles break with tradition in one very big real way. There’s utterly no type design, no worry about kerning or face. I ran a book publishing company with my ex-wife Nigey Lennon with mixed results, and a few modest successes. It was a totally Un-Kindle kind of operation. We worried about fonts and type and paper and such the way theologians argue about how many angels can dance on the head of a pin.

    I have worked in a lot of editorial offices. When I started out, we had clunky old Underwoods and nasty typesetters in the back shop that hardly paid attention to our proofing marks. Today, you can do everything from composing a story to editing it and then turning it into type yourself. No difficult and expensive and balky typesetters needed. You don’t have to direct the printer how to lay out the lead slugs. You do it on the computer. So it’s natural, perhaps, that creating “content” or “product” as they call us writer types nowadays, is not much admired. Nobody talks rhapsodically about “content providers.” So don’t mind if I still get a bit romantic about the good old days, when Mark Twain set his own type.

    Reading on a computer is like working in a word factory—whereas luxuriating with a book that can take you to myriad parts of this universe, that’s a whole other thing. In my world, real reading needs to be done lying down, perhaps with your back propped up with velvet red pillows and a glass of port nearby. You need to be unseemly comfortable. There’s nothing wrong in injecting some hedonism into the proceedings.

    Now I can laugh now at how Nigey used to pore over the history of the fonts we used for the books we published. That was a major part of book publishing. Nigey would work for hours, matching not only the history but the psychology of the manuscript to the particular font’s history. She knew it was more art than science, but that didn’t make the task any the less urgent.

    I’m afraid the Kindle made a mockery of all that. It has a very limited range of faces—more sans serif faces, that all good typesetters know make for lousy reading. They have only one half-way decent serif face—Palatino. So I read everything from Sherlock Holmes to Mark Twain as well as my own book on the Kindle’s Palatino.

    I use my computer screen to keep aware of the world. But, as much as I defend journalism, and worship my mentor and former boss Scott Newhall, editor of the San Francisco Chronicle who believed that journalism should be nothing less than “daily literature,” I know there’s a difference between literature and journalism.

    Before I got my Kindle, I did manage —  with a period of  — to get through half of a Marquez novel, but it took me several weeks to do so—in fits and snatches, before I gave up. That wasn’t his fault, it was my damned birds. In the last few weeks since I got my Kindle, I’ve been getting a lot of reading done.

    As a result of getting a Kindle, I’ve taken another giant step into the future. I’m toying with the idea of joining the ranks of people who are always staring down at their smart phone. Yeah, and I just bought an iPhone. But that’s a whole other later conversation.

    *

    Lionel Rolfe is the author of a number of books available at Amazon in paperback and ebook form. His titles include a novel, “The Misadventures of Ari Mendelsohn: A Mostly True Memoir of California Journalism,” and his nonfiction, including “Literary LA,” “The Fat Man on the Left,” “The Uncommon Friendship of Yaltah Menuhin and Willa Cather” and “The Menuhins: A Family Odyssey.”

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  • Summer is All Fun at The Garage

    By John Farrell, Curtain Call Writer

    Wet Hot American Summer … The Play? is being presented, through March 21, at Long Beach’s Garage Theatre.

    There is no poetry; there is no message; hell, there isn’t even much of a play.

    Don’t let that stop you from seeing the production. Buy a bottle of wine or a beer from their combined ticket office and concession stand, get a seat (and because the actors enter from all over the place no seat is safe, mind you) and relax and enjoy, even in you don’t quite understand what is happening, who is who or what is what.

    Wet Hot American Summer is a written and directed by Ryan McClary, based on the less-than-successful 2001 film screenplay by Michael Showalter and

    . The plot, such as it is, sets the story on the last day of summer camp at Camp Firewood, with a crowd of the usual inept misfits — and those are just the camp counselors.

    If you can make sense of the story, you are better than we are. There are more than 19 roles, 11 actors playing multiple parts and action that come in from the audience, through the audience, all around the audience. Don’t worry, you don’t have to pay attention. Just enjoy. The play includes everything from a talking can of vegetables to the crashing Skylab, a homosexual wedding, a final version of Godspell that is actually Les Mis, and a whole lot more very funny, very intense silliness.

    Three actors have single roles: Jonelle Holden as the very drunk, very funny Allan Smithee, Maribella Magnana as Acker McBlackberry, her best friend who thinks she is a play director but can’t read, and Jacob Burns as Ken Marino, a Hollywood star who might be a figment of a cough-syrup induced high.

    The cast is athletic, assertive and often hilariously provocative. The Garage Theatre does a great job with lighting (Matt Richter is the lighting designer) and the small space is well used, with some of the audience sitting right up on the stage platform.

    Don’t go for a theatrical experience. Just go to Wet Hot American Summer to have a good time. That is guaranteed.

    Tickets are $20 and $15 for students. Performances are at 8 p.m. Thursdays through Saturdays, through March 21.

    Details: (562) 433-8337; www.thegaragetheatre.org
    Venue: Garage Theatre
    Location: 251 E. 7th St., Long Beach

     

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  • Peninsula Symphonic Winds Orchestra Shows its Diversity

    By Melina Paris, Music Columnist

    While attending a rehearsal for Peninsula Symphonic Winds Orchestra, the last thing I expected to hear was Queens’ 1975 hit, “Bohemian Rhapsody,” but that I did, and it was powerful.
    The complexity of this song begs to be performed by an orchestra. The vocals were appropriately covered by the saxophone, the instrument perhaps most like the human voice. Considering the structure of this song, which consists of a ballad segment that ends with a guitar solo, an operatic passage and a hard rock section, it completely fits.

    The local Peninsula Symphonic Winds Orchestra is made up of seasoned amateurs from college age to retirees.

    Trombones, euphonium, trumpets, oboes, flutes, French horns, saxophones tubas, clarinets, bassoons and percussion or kettledrums make up this all-volunteer orchestra. Its recent rehearsal at Harbor College also included an electric bass for “Bohemian Rhapsody.” 

    The orchestra performs four concerts during the year. Three performances take place at the Rolling Hills Covenant Church Community Center, on Silver Spur Road in Rolling Hills. The actual church is elsewhere in the city on Palos Verdes Drive North. 

    “The Community Center is in a very funky old building with high ceilings and great sound,” Peninsula Symphonic Winds Orchestra Director Richard Babcock said. “It used to be a roller- skating rink and a movie theater; now (it’s) used for church services and community events.”
    The orchestra rents the community center three times a year on Sunday afternoons. The fourth concert, “Picnic and Pops,” takes place outdoors, alternately between Peninsula and Palos Verdes high schools. 

    Their repertoire is broad, playing concert band music, marches and show tunes. They do classical transcriptions of 19th century music, transcribed from orchestra to band. They also feature soloists, sometimes from the band, and sometimes guest soloists and conductors.

    The Orchestra is working on a recording project now, a first time experience. The goal is to make it as good as possible. It will take place in the studio at Harbor College.  

    “Hopefully, just hopefully, it will end up on iTunes and available to the public,” Babcock said.
    They record all of their live concerts, but this is a different experience without the audience. They will not overdub it and hope to get it down in just one take. When that’s finished, their next project will be a jazz-themed concert including big band and swing music.

    “This is a great place for young people—teenagers and people in their 20s—to get more experience playing.” Babcock said. “We play a lot of music and we play it hard. We don’t rehearse it a long time so they get to play a lot of music and experience different challenges.”
    The Orchestra is good for retired folks, too.  

    “They have this instrument they learned when they were younger,” Babcock said. “Then they got caught up in job and family and then, they get to resurrect that part of their life. I’ve seen and experienced some wonderful things with folks in that.” 

    “For working people with a nine–to–five, they get to have that break in the middle of the week. You start thinking differently. Few people think like a musician in their regular day jobs.” 
    Babcock teaches music at Chadwick School and he gets to do that every day with children, but when he comes here, it’s a different experience for him.

    “It really helps in my life or in anyone’s life. It’s an oasis.”

    Peninsula Symphonic Winds Orchestra originally performed at the Norris Theater. It was a great place for them, but very costly. They are completely self-funded and not attached to any government or school. They detached from Harbor College in 2003 and became an educational nonprofit 501(c)(3). The orchestra needs to always solicit funds and donations to keep going. 
    “The Community Center is a great place and much cheaper,” said Babcock. “It works.”

    The Orchestra will have its 20th anniversary concert a year from May. Babcock is a little surprised it has already been another decade. They are already rehearsing a piece for the celebration, which was commissioned for their 10th anniversary, “The Coast Is Clear,” by Tom Kahelin.
    Euphonium player (among other instruments) and Random Lengths News photographer, Phillip Cooke is a member of the orchestra. 

    “From day one I was amazed how talented the group is,” he said about the orchestra. “Despite being a smaller group, every instrument shines. I just wish we had more venues to play at.” 
    Details: www.palosverdes.com/peninsulawinds
    (more…)

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  • Food: Science or Sense?

    By Lori Lynn Hirsch Stokoe, Food Writer and Photographer
    On Feb. 22, scores of food aficionados convened at the Ports O’ Call Restaurant in San Pedro to discuss and debate “Food: Sense or Science?”

    Do we eat with our mouths or with our minds? And is eating—both a basic necessity and one of life’s great pleasures—still fun? Food is one of today’s most fervently discussed topics, ’round the clock, from the mass media of television and radio, to the Internet and bookstore shelves. In asking “Food: Sense or Science?” the purpose of CULINARIA Query 2015 is to examine the place food currently has in our collective consciousness and to reconcile eating, feeling and information.

    In the Query & Lecture Series: “Food: Sense or Science?” Philip M. Dobard, vice president, SoFAB Institute served as moderator of the discussion. Panelists included  Noramae Munster, certified raw food chef and culinary director, Ports O’Call Waterfront Dining, Joshua Goldman, mixologist, sommelier and restaurateur; partner, Soigne Group; managing partner, Brilliatshine, James L. Melikian, president, The Popcorn Man, and Lesley Jacobs Solmonson, senior editor, Chilled Magazine; editor-in-chief, SoFAB Magazine; Author, Gin: A GlobalHistory; and co-author, The 12 Bottle Bar, and (yours truly) Lori Hirsch Stokoe,www.tastewiththeeyes.com food writer, food photographer, recipe developer, and caterer.

    SoFAB is a nonprofit cultural enterprise. It documents and celebrates the food and drink of all cultures through exhibits, programming and a range of media. SoFAB is growing into the nation’s most comprehensive cultural institution studying food and drink.

    What is it about food that we have become so obsessed with, and how is this fascination manifesting itself in our culture? Can we simply appreciate a tomato? Or must we know if the seeds are of an heirloom variety, if it is organic or grown locally?

    Dobard began by acknowledging how food had brought all of us together in the room, and asked the panel to consider if all processed food was bad for us. When a lettuce leaf is picked, then washed and brought to market, it has indeed been “processed.” And that masa which is made into corn tortillas is processed, but again, not necessarily bad.  Goldman explained the difference between “naturally grown” processed foods – such as ingredients made from seaweed versus items like unnatural additives used to prevent colors and flavors from separating in popular sports drinks.

    Are we overthinking food? Dobard asked. 

    “We have lots of information regarding the food we eat, but may not necessarily be making the best choices available to us,” Munster said. 

    She also talked about the 80/20 rule applying to food choices, suggesting that by simply making healthy choices 80 percent of the time it could help lead to better overall health.

    The subject of organic food was discussed in detail—a big dilemma being its cost. Solmonson made the case that while some families may want to make healthier choices, they are not able to make it happen when it comes to the family budget. Others in the audience believed a non-organic apple from the 99-Cent Store is equally as nutritious as a much more expensive organic apple from Whole Foods Market. Melikian emphasized that more nutritional information needs to be taught in schools, while healthy food choices need to start at an early age at home.
    We discussed what is commonly called “kid food,”–when parents may be eating a healthy dinner, yet serve hot dogs, grilled cheese, or delivered pizza to their children – believing that their children would not eat “adult food.” Could the healthy foods that adults are eating be prepared in a way that would be irresistible to children? Solmonson added that every parent’s dilemma is how to add as many vegetables as possible into the child’s diet.

    Farmers are not producing the tastiest vegetables, but the most profitable, Goldman argued, resulting in kids’ lack of enthusiasm for fresh vegetables. He also says it doesn’t necessarily need to take more energy to prepare fresh vegetables. We can teach simple techniques to put something delicious and nutritious on the table. For example, place fresh carrots in a plastic bag, add butter and spices and pop it in the microwave for a healthy, tasty, fresh veggie side dish in minutes.

    “When it comes to nutrition, is there information overload?” Dobard posited.
    Solmonson believes the Internet and smart phones have had a huge impact, but the problem may be that not all the information available at our fingertips is correct. Often the most popular opinion goes to the top of the Internet search, but unfortunately it may contain false information about the food. Goldman suggests the Internet is a fantastic tool, but one must take the time to research to be certain that the source is reliable.

    The panel discussion ended with a question-and-answer session during which the audience shared stories of family health and history and opinions of the panel’s remarks. It was a lively couple of hours, with interesting debate and discussion, a diverse and passionate panel, and different perspectives on food culture.

    Ports O’ Call Waterfront Dining offered a complimentary buffet of appetizers including copy cat In-N-Out burgers made with vegetable protein instead of beef, and sushi, pea and mint crostini, truffle mac ’n’ cheese cups and more. The bar featured a tart “skinny margarita” made with agave nectar, as a toast to National Margarita Day. Solmonson capped off the event with a spirited lesson on gin and its history, and a tasting of three very distinct styles of that distilled liquor flavored with juniper and other botanicals.

    “We can either look at food as poison or look at food as medicine,” Goldman said. 
    Everyone seemed to agree that we make our own choices, and in spite of big corporate marketing and manipulative advertising, we live in California, a land of plenty – and it is indeed up to us to make informed decisions about our food, nutrition and health.

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  • Torrance Refinery Explosion:

    A Sharp Reminder of Externalized Costs

    By Paul Rosenberg, Senior Editor
     
    On Feb. 18 at about 8:50 a.m., an explosion sent flames and ashes into the sky at the ExxonMobil refinery in Torrance.

    Four workers were injured by the blast and 14 Torrance schools initiated “shelter in place” procedures, keeping their students indoors. CalTech researchers said that the blast was the equivalent of a 1.7-magnitude earthquake.

    A Feb. 25 update report from the South Coast Air Quality Management District stated that the blast “blew off sections of the electrostatic precipitator, venting the fluid catalytic cracking unit, and released spent catalyst into the air which deposited it in the neighborhood on top of cars and homes and other areas around the refinery.”

    The good news was that nobody was killed. Moreover, the AQMD reported that there was no detectable air pollution impacts of the kinds that it normally monitors.

    “Our air monitoring didn’t show an increased air pollution exposure to residents following the explosion,” said AQMD spokesman Sam Atwood.

    In addition, the update report stated that all the asbestos detected afterwards was confined to within the refinery.

    Still, ExxonMobil was needlessly—even foolishly—tight-lipped, and unresponsive to public concerns, in the eyes of Connie Rutter, a retired oil industry consultant, who worked as a refinery environmental officer before establishing her own consulting firm.

    “It just seems to me that the best policy is honesty, even if that puts the company in a bad light,” Rutter said. “The issue with the ash should be handled by clearly naming what it is and hazards associated with it.”

    The bad news is that the direct negative consequences of the explosion—the first wave of externalized costs imposed on the broader community—pale in comparison to the indirect costs, most notably the sharp increase in the already-rising gas prices statewide (a 42-cent increase in one week, compared to 52 cents over the previous three weeks combined). Those, in turn, pale in comparison to the costs of business-as-usual in the oil and gas business, which amount to at least $1,400 per person per year, primarily in health-related costs, according to academic research. In Los Angeles County, according to a 2008 study led by California State University Fullerton economist Jane Hall, twice as many people die annual from air pollution than die in traffic accidents.

    Chaos and confusion dominated the immediate post-blast response, and led to fierce criticism on social media and at a community meeting on the night of Feb. 20. Almost 200 people attended. While some public criticism was directed toward the Torrance Fire Department, the lion’s share of anger and blame was directed toward ExxonMobil, which appeared to be both ill-prepared and uninformed.

    Most notably, ExxonMobil had failed to act immediately to activate two aspects of the Torrance Community Warning System, which it has authority to initiate “if an incident at the refinery warrants immediate community notification.”

    First, the community sirens used to alert residents within a 1.2-mile radius of the refinery to shelter in place; second, the Crenshaw Street Barriers, similar to railroad barriers, used to prohibit traffic between Del Amo Boulevard and 190th Street on Crenshaw Boulevard.

    At the meeting, ExxonMobil’s refinery manager Brian Ablett—just three months on the job—tried to shift blame onto the city of Torrance.

    “The communication is generally not from us, it’s from the city,” he said.

    That much is true—but with an emphasis on “generally.” As explained in a document posted on the refinery’s website, the overall, multifaceted warning system is run by the city. But a note at the bottom specifically cites these two safety provisions as being in ExxonMobil’s hands when immediate notification is required. Ablett further obscured the truth—if not outright lied—when he added that the siren system (which is tested once a month, but was not activated in response to the explosion) was also not operated by ExxonMobil. “It’s the city’s response system, it’s not ours.”

    It’s unclear whether Ablett was lying, uninformed, confused himself, or knowingly deceptive. But it is clear that ExxonMobil as a whole was not on top of things operationally.

    “Honestly, I’m not at all surprised that happened,” Torrance City Councilman Tim Goodrich said at a council meeting the following week. “How many close calls is ExxonMobil willing to have before we have one we’re really going to regret?”

    Indifference to such impacts is commonplace in the oil industry, with only few exceptions, Rutter observed. Exxon had a long history of high-handedness and indifference to the public before its merger with Mobil, epitomized by its response to the Exxon Valdez disaster in 1989. Mobil had been more image conscious, as the creating sponsor of PBS’s Masterpiece Theatre.

    “Mobil seemed to act as if once they done that, they didn’t have to do anything more.” Rutter noted. Although “not blatant as Exxon,” Rutter said Mobil “pretty much had the attitude, ‘Hey we’re here to refine oil, you people need gasoline, let us alone.’”

    Buying off the political system is where the industry excels, as illustrated by another recent development. On Feb. 27, the New York Times reported that ExxonMobil had reached a settlement agreement with the state of New Jersey, paying just $250 million in an 11-year-old suit, which initially asked for $8.9 billion in damages for pollution damage to wetlands from two refineries dating back to the 1870s.

    The surprise announcement came just as a ruling was expected from the judge in the case—as the Times put it, “Exxon’s liability was no longer in dispute; the only issue was how much it would pay in damages”—and was immediately denounced by environmental advocates.

    “This is an outrageous abuse of power by the administration selling out the environment and the taxpayers of New Jersey,” Jeff Tittel, director of the New Jersey Sierra Club, told Bloomberg News. “This is a complete giveaway to corporate polluters.”

    But David Sirota of International Business Times drew attention to two key factors: First was ExxonMobil’s contributions of more than $1.9 million to the Republican Governors’ Association since Chris Christie first ran for governor in 2009.

    “That includes $79,000 during Christie’s 2009 campaign and $200,000 during his re-election campaign in 2013,” Sirota reported. “It also includes $500,000 when he chaired the organization during the 2014 election cycle.”

    Second was the fact that a previous Christie-appointed Attorney General, Paula Dow, was a former Exxon lawyer.

    But even if ExxonMobil had paid that $8.9 billion settlement in full, it would only be a fraction of the worldwide externalized costs of the industry on an annual basis. The 2008 study by Jane Hall mentioned above found that “almost $22 billion” would be saved annually in the South Coast Air Basin “if federal ozone and PM2.5 [fine particle, aka “soot”] standards were met,” plus almost another $6 billion in the San Joaquin Valley. Thus, the routine externalized costs of the oil and gas industry far outshadow the acute damages seen in incidents like the Torrance refinery explosion, or even major lawsuits like the one in New Jersey.

    Bringing those massive figures down to Earth, the average health costs per person from air pollution probably remain around $1,400 annually for local residents, despite significant improvements in air quality throughout the past 30 years. While pollution levels locally have improved significantly since 2005 and 2006, when the 2008 study’s data was collected, a followup study lead by Hall, comparing that study with an earlier one in 1989, found little net change in per-capita health impacts.

    “The core point is that enormous progress has been made in reducing pollution,” Hall said. “But new scientific research that indicates a broader array of impacts, and impacts at lower concentrations, along with larger populations in more polluted sub-regions, means that there are still large numbers of significant adverse effects on health in the region.”

    There are no studies that comprehensively capture all the externalized costs of the oil and gas industry. Hall’s studies are typical of how most similar studies are done. They only capture differences in externalized costs between current levels and some future target. In her case, that means full compliance with the Clean Air Act, hence the title of her 2008 study: “The Benefits of Meeting Federal Clean Air Standards in the South Coast and San Joaquin Valley Air Basins.” Specific itemized benefits listed in the report include:

    • 3,860 fewer premature deaths among those age 30 and older

    • 3,517,720 fewer days of reduced activity in adults

    • 1,259,840 fewer days of school absence

    • 2,078,300 fewer days of respiratory symptoms in children

    • 466,880 fewer lost days of work

    The AQMD uses a similar comparative process in evaluating its repeated air quality management plans. These are produced every five years or so, issuing a socioeconomic report several months after the main plan is produced. The last two air quality management plans were in 2007 and 2012, and another is due out next year. The 2007 plan was projected to produce $200 billion in savings, almost $12 billion annually through 2024. Industry costs for new pollution control measures were projected to range from $2.0 to $2.7 billion per year, with benefits topping $14 billion.

    “It’s always easy to quantify [industry] costs,” explained Dr. Elaine Chang, AQMD deputy executive officer for Planning, Rule Development and Area Sources, about covering that report. “We’re trying to quantify the benefits as well. We can see the ratio [of benefits to costs] is 7 to 1, so society is bearing the costs of not internalizing the economic costs of polluting.”

    According to the 2007 report, “The $14 billion includes approximately $9.2 billion for averted illness and higher survival rates, $3.6 billion for visibility improvements [a factor in real-estate values], $966 million for congestion relief, $204 million for reduced damage to materials, and $18 million for increased crop yields.”

    In that report, the lion’s share of impacts were clearly fossil fuel based—congestion relief would apply regardless of the fuel source. The 2012 report involved a much different policy mix, so its projected savings, $10.7 billion, included a much larger share of congestion relief—$7.7 billion. Because the policy mix has such a strong impact on the cost savings produced, air quality management plans are a less accurate gauge of overall costs than the kind of comprehensive studies that Hall has produced. Still, they make the same broad point—the annual externalized costs of fossil fuels dwarf the costs of any headline-grabbing disaster, and thus deserve serious public debate and action.

    This point only becomes more pressing as we add the growing threat of climate change costs—already being felt via increased costs due to extreme weather, from hurricanes to heatwaves and droughts. Toward this end, a 2014 report from the Environmental Defense Fund, “Driving California Forward”, found savings of $10.4 billion by 2020 and $23.1 billion by 2025 from two California programs, the state’s Low Carbon Fuel Standard and the savings in transportation fuels under the state’s cap and trade program.

    The report broke these savings down as follows:

    Air pollution and

    public health

    Reductions of PM2.5, NOx, and SOx impacts will clean up California’s air and reduce harm to Californians. This can save $6.0 billion from PM2.5 and $2.3 billion from NOx and SOx.

    Energy security

    Reducing California’s reli- iance on imported energy and insulating the state from energy price fluctuations can save up to $6.9 billion, while also reducing gasoline and diesel consumption by 33.1 billion gallons between 2010 and 2025.

    Climate change

    Cutting climate change pollution will reduce the social cost of carbon by a cumulative $7.9 billion between 2010–-2025.

    In short, this report suggests that public health costs from transportation fossil fuels are only about one third of their total externalized costs. That would equate to more than $4,000 per person annually in the Los Angeles area, based on Hall’s earlier work. It’s something to think about while waiting for the next oil company disaster to strike.

     

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