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This Is Not a Drill. Fascism Is on the Ballot. But . . .

 

The conclusion that Donald Trump is a fascist has gone mainstream, gaining wide publicity and affirmation in recent weeks. Such understanding is a problem for Trump and his boosters. At the same time, potentially pivotal in this close election, a small proportion of people who consider themselves to be progressive still assert that any differences between Trump and Kamala Harris are not significant enough to vote for Harris in swing states.

Opposition to fascism has long been a guiding light in movements against racism and for social justice.

Speaking to a conference of the African National Congress in 1951, Nelson Mandela warned that “South African capitalism has developed [into] monopolism and is now reaching the final stage of monopoly capitalism gone mad, namely, fascism.”

Before Fred Hampton was murdered by local police officers colluding with the FBI in 1969, the visionary young Illinois Black Panther Party leader said: “Nothing is more important than stopping fascism, because fascism will stop us all.”

But now, for some who lay claim to being on the left, stopping fascism is not a priority. Disconnected from the magnitude of this fateful moment, the danger of a fascist president leading a fanatical movement becomes an abstraction.

One cogent critic of capitalism ended a column in mid-October this way: “Pick your poison. Destruction by corporate power or destruction by oligarchy. The end result is the same. That is what the two ruling parties offer in November. Nothing else.”

The difference between a woman’s right to an abortion vs. abortion being illegal is nothing?

“The end result is the same” — so it shouldn’t matter to us whether Trump becomes president after campaigning with a continuous barrage against immigrants, calling them “vermin,” “stone-cold killers,” and “animals,” while warning against the “bad genes” of immigrants who aren’t white, and raising bigoted alarms about immigration of “blood thirty criminals” who “prey upon innocent American citizens” and will “cut your throat”?

If “the end result is the same,” a mish-mash of ideology and fatalism can ignore the foreseeable results of a Republican Party gaining control of the federal government with a 2024 platform that pledges to “carry out the largest deportation operation in American history.” Or getting a second Trump term after the first one allowed him to put three right-wing extremists on the Supreme Court.

Will the end result be the same if Trump fulfills his apparent threat to deploy the U.S. military against his political opponents, whom he describes as “radical left lunatics” and “the enemy from within”?

Capacities to protect civil liberties matter. So do savage Republican cuts in programs for minimal health care, nutrition and other vital aspects of a frayed social safety net. But those cuts are less likely to matter to the polemicists who will not experience the institutionalized cruelties firsthand.

Rather than being for personal absolution, voting is a tool in the political toolbox — if the goal is to avert the worst and improve the chances for constructing a future worthy of humanity.

Trump has pledged to be even more directly complicit in Israel’s mass murder of Palestinian people in Gaza than President Biden has been. No wonder, as the Washington Post reports, Prime Minister Benjamin Netanyahu “has shown a clear preference for Trump in this election.” During a call this month, Trump told Netanyahu: “Do what you have to do.”

Palestinians, Muslim leaders and other activists in the swing state of Arizona issued an open letter days ago that makes a case for defeating Trump. “We know that many in our communities are resistant to vote for Kamala Harris because of the Biden administration’s complicity in the genocide,” the letter says. “We understand this sentiment. Many of us have felt that way ourselves, even until very recently. Some of us have lost many family members in Gaza and Lebanon. We respect those who feel they simply can’t vote for a member of the administration that sent the bombs that may have killed their loved ones.”

The letter goes on:

As we consider the full situation carefully, however, we conclude that voting for Kamala Harris is the best option for the Palestinian cause and all of our communities. We know that some will strongly disagree. We only ask that you consider our case with an open mind and heart, respecting that we are doing what we believe is right in an awful situation where only flawed choices are available.

In our view, it is crystal clear that allowing the fascist Donald Trump to become President again would be the worst possible outcome for the Palestinian people. A Trump win would be an extreme danger to Muslims in our country, all immigrants, and the American pro-Palestine movement. It would be an existential threat to our democracy and our whole planet.

Exercising conscience in the most humane sense isn’t about feeling personal virtue. It’s about concern for impacts on the well-being of other people. It’s about collective solidarity.

The consequences of declining to help stop fascism are not confined to the individual voter. In the process, vast numbers of people can pay the price for individuals’ self-focused concept of conscience.

Last week, the insightful article “7 Strategic Axioms for the Anxious Progressive Voter” offered a forward-looking way to put this presidential election in a future context: “Vote for the candidate you want to organize against!”

Do we want to be organizing against a fascistic militaristic President Trump, with no realistic hope of changing policies . . . or against a neoliberal militaristic President Harris, with the possibility of changing policies?

For progressives, the answer should be clear.

____________________________

Norman Solomon is the national director of RootsAction.org and executive director of the Institute for Public Accuracy. His latest book, War Made Invisible: How America Hides the Human Toll of Its Military Machine, was published in paperback this fall with a new afterword about the Gaza war.

 

Port of Long Beach Announces Partial Closure Planned for Carrack Avenue

 

A portion of Carrack Avenue in the Port of Long Beach will be closed for eight months beginning Nov. 4, to accommodate a utilities relocation associated with the construction of “America’s Green Gateway,” the Pier B On-Dock Rail Support Facility, a $1.567 billion project that will dramatically enhance the efficiency and sustainability of cargo flow at the port complex.

Crews will be staging in the area to relocate pipelines from within the Pier B project footprint. The area of Carrack Avenue closing is between Pier B Street and Pier A Way. Carrack will remain open south of Pier A Way. A detour will be posted along Pier B Street and Pier A Way.

The Pier B rail yard is now under construction and will be built in phases, each enhancing more sustainable cargo movement. It is scheduled for completion by 2032. The facility will more than triple capacity for on-dock rail – a system where rail cargo is moved directly to and from marine terminals by trains, reducing emissions and stress on the local and regional road network.

View a map of the closure.

For more information on America’s Green Gateway, visit www.polb.com/pierb.

ANNOUNCEMENT: Landslide Town Hall Tonight, Oct. 28

Reminder: Tonight, Oct. 28, RPV City Council will hold a special city council meeting in the form of a town hall at 6 p.m. at the Ladera Linda Community Center and via Zoom regarding the Portuguese Bend Landslide complex.

Residents are invited to attend the town hall to get the latest updates on land movement, the city’s ongoing efforts to slow it and prepare for the winter, plus updates from Cal OES and FEMA.

Bring your questions and concerns. Refreshments will be provided.

Time: 6 p.m., Oct. 28

Details: To participate virtually, click on the Zoom link: https://tinyurl.com/RPV-landslide-update-mtg or rpvca.gov/participate.

Venue: Ladera Linda Community Park, 32201 Forrestal Drive in Rancho Palos Verdes.

If you have questions, email the city at landmovement@rpvca.gov.

Rep. Barragán Has Secured $36.5 Million for Zero-Emission Rail In California

Washington D.C. — Rep. Nanette Barragán (CA-44) Oct. 25 announced the California Air Resources Board or CARB has been awarded a $36.5 million grant from the U.S. Department of Transportation to replace 10 diesel locomotives with nine zero-emission, battery-electric locomotives and one hydrogen fuel cell locomotive. Rep. Barragán urged federal rail administrator Amit Bose to fund this project through the department’s consolidated rail infrastructure and safety improvements program earlier this year in a letter to the administrator.

“We all know rail has a critical role in moving goods through our ports and limits the number of drayage trucks on our highways. However, it is also a major source of the air and noise pollution that causes significant harm to frontline communities like Wilmington and Long Beach,” said Rep. Barragán. “I applaud CARB, as well as PHL and the other industry partners for their leadership as early investors in this zero-emission locomotive technology. They have responded to the calls of frontline residents and Members of Congress to reduce their pollution and expedite the transition of a rail zero-emission future. The health of our communities is worth every dollar of this investment.”

Five of the new locomotives will be operated by Pacific Harbor Line or PHL and used in and near the ports of Los Angeles and Long Beach. This will build on PHL’s successful pilot demonstration of a battery-electric switcher locomotive in the San Pedro Bay Ports Complex.

This federal investment will significantly benefit the health and quality of life of frontline communities that have been disproportionately harmed by railroad pollution for decades. In total, the project is estimated to eliminate 28.5 tons of smog-forming nitrogen oxide and 590 metric tons of carbon dioxide annually.

City of Carson Breaks Ground on State-of-the-Art Amphitheater, Enhancing Community Entertainment

 

CARSON — The City of Carson broke ground Oct. 22 on its new amphitheater at the city’s event center. The state-of-the-art facility will bring large and medium-sized events to the heart of the community. With the design already in progress and construction set to begin in October 2024, the theater is expected to be completed by summer 2025, marking a significant step forward in the city providing public spaces that enrich the lives of all residents.

The theater will be a central gathering space for Carson residents, hosting performances, cultural events and celebrations that reflect the community’s diversity and vibrancy. The city council has emphasized its dedication to developing well-designed public spaces that enhance the quality of life, improve accessibility and foster community connections.

“Craven…hypocritical…sexist…racist”

LAT Editor Blasts Paper’s Non-Endorsement Of Harris In Resignation Letter

In these dangerous times, staying silent isn’t just indifference, it is complicity. I’m standing up by stepping down from the editorial board.” — Mariel Garza, LA Times Editorials Editor Resignation Letter

By Paul Rosenberg, Senior Editor

LA Times billionaire owner Pat Soon-Shiong — a friend of Donald Trump’s biggest donor, Elon Musk — censored the Times editorial board’s endorsement of Kamala Harris, and editorials editor Mariel Garza resigned in response on Oct. 23, after the Trump campaign predictably used the non-endorsement decision to attack Harris, claiming it proved that “Even her fellow Californians know she’s not up for the job.”

At first, Garza had been “struggling with my feelings about the implications of our silence,” rationalizing that it made no difference in a state that would never vote for Trump.” But the reality hit me like cold water” once the news spread. “Donald Trump turned it into an anti-Harris rip,” she wrote in her resignation letter.

“Of course, it matters that the largest newspaper in the state — and one of the largest in the nation still — declined to endorse in a race this important. And it matters that we won’t even be straight with people about it,” she went to say.

“It makes us look craven and hypocritical, maybe even a bit sexist and racist. How could we spend eight years railing against Trump and the danger his leadership poses to the country and then fail to endorse the perfectly decent Democrat challenger — who we previously endorsed for the US Senate?”

The damage wasn’t just to Harris and possibly the nation in this one election, she went on to say.

“The non-endorsement undermines the integrity of the editorial board and every single endorsement we make, down to school board races. People will justifiably wonder if each endorsement was a decision made by a group of journalists after extensive research and discussion, or through decree by the owner.”

Soon-Shiong tried to clean up the mess but only made things worse with a dishonest blame-shifting narrative posted on Musk’s website.

“Let me clarify how this [non-endorsement] decision came about,” but what followed didn’t match what was already known, as reported by Sewell Chan (a former LAT opinion page editor) for the Columbia Journalism Review, who first reported Garza’s letter after interviewing her.

According to Chan:

On October 11, Patrick Soon-Shiong, who bought the newspaper for $500 million in 2018, informed the paper’s editorial board that the Times would not be making an endorsement for president. The message was conveyed to Garza by Terry Tang, the paper’s editor.

The board had intended to endorse Harris, Garza told me, and she had drafted the outline of a proposed editorial. She had hoped to get feedback on the outline and was taken aback upon being told that the newspaper would not take a position.

This last-minute censorship of the board’s decision echoed a similar scenario in the 2020 primary, when Soon-Shiong censored the board’s endorsement of Elizabeth Warren in a similar last-minute move. But his “clarification” makes no mention of any of that. In his alternate universe, he was just a passive voice innocent bystander. It was all the Editorial Board’s fault. Here’s what he says happened:

The Editorial Board was provided the opportunity to draft a factual analysis of all the POSITIVE AND NEGATIVE policies by EACH candidate during their tenures at the White House, and how these policies affected the nation. In addition, the Board was asked to provide their understanding of the policies and plans enunciated by the candidates during this campaign and its potential effect on the nation in the next four years. In this way, with this clear and non-partisan information side-by-side, our readers could decide who would be worthy of being President for the next four years. Instead of adopting this path as suggested, the Editorial Board chose to remain silent and I accepted their decision.

Not so fast, said the newspaper guild. The Los Angeles Times Guild Unit Council and Bargaining Committee issued a statement saying:

We are deeply concerned about our owner’s decision to block a planned endorsement in the presidential race. We are even more concerned that he is now unfairly assigning blame to Editorial Board members for his decision not to endorse. We are still pressing for answers from newsroom management on behalf of our members. The Los Angeles Times Guild stand with our members who have always worked diligently to protect the integrity of our newsroom.

While it’s impossible to know what motivated Soon-Shiong, his friendship with Musk can’t be ignored.

“Makes sense,” Musk posted in response. Musk has given $75 million to America PAC, which does swing-state voter turnout for the Trump campaign, according to the latest filings with the Federal Election Commission. He’s also the most influential spreader of misleading and false election information. So it makes sense that he’d say Soon-Shiong’s fake history makes sense.

But there’s another wrinkle to consider. In the early days of the Trump administration in Jan 2017, STAT News reported that Soon-Shiong had “been in talks with the Trump administration about the possibility of serving in a senior role overseeing the US health care system.” In the end, nothing came of that. But he could well be interested in that again, and Trump has pledged to give Musk a key administration role, should he return to the White House.

In sharp contrast to all this murkiness, Garza’s letter was crystal clear in its conclusion:

Seven years ago, the editorial board wrote this in its series about Donald Trump “Our Dishonest President”: “Men and women of conscience can no longer withhold judgment. Trump’s erratic nature and his impulsive, demagogic style endanger us all.”

I still believe that’s true.

In these dangerous times, staying silent isn’t just indifference, it is complicity. I’m standing up by stepping down from the editorial board. Please accept this as my formal resignation, effective immediately.

Second LB Playhouse “Hedwig” looser, funnier, still too quiet

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It was approximately 75 seconds between my coming across Long Beach Playhouse’s audition notice for Hedwig and the Angry Inch and transmitting it to Andrew Pedroza. Remembering his lament this summer about how long it had been since he was on stage, I couldn’t imagine a better opportunity to get off the schneid. This bitch was born to play Hedwig. It’s why I wasn’t the only one to point him in this direction — and why he got the part.

Knowing he would be great, I trekked upstairs to the Playhouse’s Studio Theatre hoping against hope that the sound issues (band volume, mic distortion) undercutting the efforts of the previous week’s “Lil Guys” cast would be rectified for “Dem Bratz” (Pedroza and Renee Cohen). The Playhouse was providing complimentary earplugs, so maybe . . .

No such luck. Surely the failure to redress such painfully obvious shortcomings means that for some reason(s) the Playhouse simply can’t, at least in the Studio Theatre. So why not stage Hedwig downstairs on the Mainstage Theatre, where presumably they could crank it up? This would be a far better room for Hedwig, anyway. Audience on three sides would give Hedwig far more opportunity to engage the audience, a few tables on stage could create a real cabaret vibe . . .

File that under ‘The Hedwig That Might Have Been.’ As for the Hedwig that is, the big difference between “Lil Guys” and “Dem Bratz” is that Pedroza is far more improvisational. Although it would be a mistake to gloss over anything John Cameron Mitchell put on the page, by its very nature Hedwig’s show-within-a-show conceit allows for leaning into the moment. Whereas Zachary Balagot chooses not to indulge in the metafiction, Pedroza is all about it. In fact, some of “Dem Bratz” funniest moments come when Pedroza is off-book, a trick he managed without sacrificing any of the funny in the very funny script.

Where Pedroza can (and I suspect will) improve as the run wears on is how often he cranks his delivery up to 11. Perhaps it was opening-night overexcitement, but he went over the top too often both comedically and dramatically. Modulating his delivery more carefully will make those moments when he really needs to go there all the more impactful and help make sure all the beats in the script come across.

Vocally, although the “Dem Bratz” cast is not quite as technical as the “Lil Guys,” that doesn’t stop them from being just as good. “Dem Bratz” is generally more punk, but Pedroza’s best moments include the opening of “Wig in a Box”, which he drags out to beautiful effect (and the Angry Inch is attentive enough to let happen), and a powerful emotional outpouring in “Midnight Radio”.

One misstep I neglected to mention last week comes during the musical dissolution at the end of “Exquisite Corpse”. There are basically two ways to play Hedwig’s (SPOILER ALERT) reunification with Tommy Gnosis: have her transform in front of our eyes, or go into blackout and lights up on her transformed state. Director Angela Cruz apparently favors the latter, in that she has Hedwig exit — except that instead of going into blackout (or how about a strobe?), with nary a change of light the Angry Inch’s discordantly churning feels like a meaningless vamp to cover a costume change rather than evoking the mysterious drama of the moment. When Hedwig/Tommy returns, the transformation has been hamstrung.

Although we’ll never know how great Long Beach Playhouse’s staging(s) could have been, Hedwig and the Angry Inch is a magnificent work, and these two fine casts do enough to allow that to show through the shortcomings. But don’t bother with the earplugs.

Hedwig and the Angry Inch at Long Beach Playhouse

Times: Fri–Sat 8:00 p.m., Sun 2:00 p.m.

    • “Lil Guys” cast: Oct. 25–27, Nov. 8–10
    • “Dem Bratz” cast: Oct. 18–20, Nov. 1–3, 15–16

The show runs through November 16.
Cost: $20 to $30
Details: (562) 494-1014; LBplayhouse.org
Venue: Long Beach Playhouse, 5021 E. Anaheim St., Long Beach

Long Beach Symphony brings the soul for upcoming “Pops” show

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After covering arts in Long Beach for, gawd, 17 years or whatever, somehow it wasn’t until this spring that I fully understood what Long Beach Symphony Orchestra “Pops” concerts entail. It was the theme that tipped me off: “Disco Fever.” Whereas I’d implicitly presumed “Pops” concerts were simply transliterations of pop/rock songs into an orchestral idiom (as many orchestras have done with The Beatles and Pink Floyd), I couldn’t imagine that working for disco, which rests on the bassy foundation of a four-on-the-floor groove.

So I looked into it (which took all of sixty seconds) and found that LBSO Pops shows have the orchestra on top of the drums/bass/guitar/etc. that make so much pop/rock/disco/etc. go.

Well, this I had to experience. See, I love to dance, and while maybe not every Pops show is especially dance-friendly, Disco Fever? Please.

That will also be the case on November 2, when LBSO celebrates the “Kings of Soul” at Long Beach Arena. We’re told to expect classics by the likes of Marvin Gaye, Jackie Wilson, James Brown, Otis Redding, The Temptations, Al Green, Barry White, Smokey Robinson, and Curtis Mayfield.

Although the majority of the people who attend LBSO Pops shows purchase seats at tables spread across the Long Beach Arena floor, even those who buy the cheapest seats (Side Loge – $35) are welcome to spend all their time down on the dance floor. Floors, I mean: there’s one on each side of the stage, plus space in front. Wherever you like, really.

A huge plus for those who like the live experience but find your average pop/rock concert just too darn loud is that, I now know from experience that LBSO Pops shows are right in the sweet spot despite featuring far more instruments on stage than a typical arena concert. It’s loud enough so you’re feeling it bodily, but not deafening. I say this as someone who carries earplugs everywhere: the sound could not have been dialed in any better.

For food and drink, we brought our own to Disco Fever (no fuss, no muss with security), but LBSO has a set-up so you can have your meal catered by George’s Greek Cafe, Modica’s, or other local options and have it waiting for you upon arrival.

As for the overall vibe, I was impressed by what a high percentage of people actually got out on the floor and let it flow. Although even at clubs that skew younger most everyone is waiting for someone else to get on the floor first, as soon as that happened at Disco Fever, the floodgates opened, and the dance floors were full for the entire show (though there was always enough space for everyone to get down comfortably). People who know about these shows really do come to dance.

But I’m betting that if I could go nearly two decades in this town without knowing this was happening, I’m far from the only one. Here’s to hoping word gets around, because there’s nothing in Long Beach remotely like it.

“Kings of Soul” takes place Saturday, November 2 at the Long Beach Arena. Doors at 6 p.m., show at 7:30 p.m. Tickets start at $35.

“Ain’t Misbehavin’ ”: No meat, all Fats

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Right off the top I have to confess I am not a Fats Waller fan — and that’s kinda the kiss of death if you’re seein’ Ain’t Misbehavin’, which is nothing more and nothing less than a revue of the big man’s highly influential oeuvre. So if you feel the same and/or want a story when you go out for a night of musical theatre, you may as well stop right here: Ain’t Misbehavin’ ain’t for you.

But it’s for plenty of folk. To call Waller’s music “beloved” is no empty honorific, and Ain’t Misbehavin’ raked in the hardware when it hit Broadway in 1978, including the Tony for Best Musical.

If you buy tickets to Musical Theatre West’s staging knowing what you’re in for, you’re likely to come away satisfied. Although Waller’s songs can be placed in three neat piles (call them “stride / stride-adjacent,” “mid-tempo walking,” and “slow stuff”), there’s enough variety in the voices of Eric B. Anthony, Chante Carmel, Marty Austin Lamar, Amber Liekhus, and Fredericka Meek to give even those highly fluent in Fats something fresh to chew on.

What may disappoint aficionados of a certain bent is the sound of the band. Don’t get me wrong: as a rule Long Beach Playhouse bands — whatever their size — are top-flight; and under the direction of William Foster McDaniel — who handles piano duties on a lovely old upright with exposed guts (nice visual touch) — this small ensemble is no exception. The problem (again I say: for some) is that all of the instruments are mic’d individually rather than captured as a unit the way Waller’s music was originally recorded. It’s not that the mix is bad, but those who want that period sound won’t find it here.

In terms of staging, there’s not much to it. Such as it is, director Paul David Bryant’s concept is a loose (very loose) evocation of Harlem Renaissance clubs. There’s a lot of sitting at tables, with a bit of rudimentary hoofing every third song or so. At one point there’s a suite of songs bookended by “Ladies Who Sing with the Band” that’s presented as a sort of live radio broadcast, where gals come to the mic and sing poorly. This is my least favorite bit, because weak (IMHO) material (“Yacht Club Swing”, “When the Nylons Bloom Again”) combined with weak singing sounds bad regardless of the joke (see imitative fallacy).

Of the 30+ songs, to a non-fan like myself, “I Can’t Give You Anything but Love” and “(What Did I Do to Be So) Black and Blue” are easily the best, and their placement after intermission helps close the proceedings on a high. The latter contains Waller’s most affecting lyrics, which the cast renders with due forlornness:

‘Cause you’re black, folks think you lack

They laugh at you, and scorn you, too

What did I do to be so black and blue?

When you are near, they laugh and sneer

Set you aside, and you’re denied

What did I do to be so black and blue? […]

My only sin is my skin

What did I do to be so black and blue?

But on the whole Ain’t Misbehavin’ is a lite nite, and Fats Waller lovers who know what they’re in for when they lay their good money down are unlikely to come away disappointed.

Ain’t Misbehavin’ at Musical Theatre West
Times: Fri 8 pm, Sat 2 pm & 8 pm, Sun 1 pm, plus October 24 7:30pm & October 27 6pm
The show runs through November 3.
Cost: $20–$135; student rush tix: $15
Details: (562) 856-1999, musical.org
Venue: Carpenter Performing Arts Center (6200 W. Atherton, Long Beach)

Palos Verdes Land Movement Update

Federal and State Legislators Tour Landslide Area

On Oct. 22, Councilmember Dave Bradley, Councilmember Paul Seo and City Manager Ara Mihranian led a tour of the landslide area for federal, state, and local legislators. The group included Rep. Ted Lieu, Rep. Adam Schiff, State Sen. Ben Allen, Assemblymember Al Muratsuchi, representatives from the offices of Sen. Laphonza Butler and L.A. County Supervisor Janice Hahn, and Rolling Hills Mayor Pro Tem Jeff Pieper, Councilmember Patrick Wilson, and City Manager Karina Bañales.

The lawmakers and staff got an up-close look at damage to neighborhoods in the landslide area and learned about the city’s efforts to slow the landslide with dewatering wells removing millions of gallons of deep groundwater per week to reduce water pressure that is fueling the slide.

The tour came after the city last week submitted an appropriations request to Rep. Lieu seeking $20 million for continued landslide stabilization and winterization efforts. This includes fissure filling to prevent rain runoff from recharging the groundwater table, constructing surface drains to properly convey rain runoff to the ocean or storm drains, and installing additional dewatering wells.

Federal Legislators Sign Joint Letter Urging FEMA to Provide Support to Residents Impacted by Palos Verdes Peninsula Land Movement

On Oct. 1, Rep. Lieu led a joint letter with Sen. Alex Padilla, Sen. Butler, and Rep. Schiff urging the Federal Emergency Management Agency or FEMA to identify any assistance and funding that can be made available to residents impacted by land movement in Rancho Palos Verdes and on the Palos Verdes Peninsula. In the letter, the members called on administrator Deanne Criswell to consider ways in which FEMA can help impacted communities in conjunction with other local, state and federal efforts to mitigate the dangerous ground movements and provide relief for impacted homeowners.

A copy of the letter (PDF) is available on Rep. Lieu’s website.