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The Speech That Was Not Given at DNC

 

Rejected by DNC, Ruwa Romman Echoes Civil Rights Legacy in Stirring, Vetted Convention Speech

Editor’s Note: Below is the full speech of Georgia’s state representative Ruwa Romman who was among the list of speakers offered by the Uncommitted National Movement that the Harris campaign rejected. Romman delivered the speech she would have given on the convention floor had the DNC and the Harris campaign allowed her onstage.

The Uncommitted National Movement is a protest campaign aimed mainly at pressuring the Biden-Harris administration to achieve a ceasefire in the Israel–Hamas war and impose an arms embargo on Israel by withholding its votes in the general election.The group received significant support during the 2024 Democratic presidential primaries.

The Georgia state legislator’s words invoked and echoed Civil Rights icon Fannie Lou Hamer’s speech at the 1964 Democratic National Convention, causing a generation of Americans to become outraged or radicalized in real time as President Lyndon B Johnson called a press conference to pull the cameras away.

My name is Ruwa Romman, and I’m honored to be the first Palestinian elected to public office in the great state of Georgia and the first Palestinian to ever speak at the Democratic National Convention. My story begins in a small village near Jerusalem, called Suba, where my dad’s family is from. My mom’s roots trace back to Al Khalil, or Hebron. My parents, born in Jordan, brought us to Georgia when I was eight, where I now live with my wonderful husband and our sweet pets.

Growing up, my grandfather and I shared a special bond. He was my partner in mischief — whether it was sneaking me sweets from the bodega or slipping a $20 [bill] into my pocket with that familiar wink and smile. He was my rock, but he passed away a few years ago, never seeing Suba or any part of Palestine again. Not a day goes by that I don’t miss him.

This past year has been especially hard. As we’ve been moral witnesses to the massacres in Gaza, I’ve thought of him, wondering if this was the pain he knew too well. When we watched Palestinians displaced from one end of the Gaza Strip to the other I wanted to ask him how he found the strength to walk all those miles decades ago and leave everything behind.

But in this pain, I’ve also witnessed something profound—a beautiful, multifaith, multiracial, and multigenerational coalition rising from despair within our Democratic Party. For 320 days, we’ve stood together, demanding to enforce our laws on friend and foe alike to reach a ceasefire, end the killing of Palestinians, free all the Israeli and Palestinian hostages, and to begin the difficult work of building a path to collective peace and safety. That’s why we are here—members of this Democratic Party committed to equal rights and dignity for all. What we do here echoes around the world.

They’ll say this is how it’s always been, that nothing can change. But remember Fannie Lou Hamer—shunned for her courage, yet she paved the way for an integrated Democratic Party. Her legacy lives on, and it’s her example we follow.

But we can’t do it alone. This historic moment is full of promise, but only if we stand together. Our party’s greatest strength has always been our ability to unite. Some see that as a weakness, but it’s time we flex that strength.

Let’s commit to each other, to electing Vice President Harris and defeating Donald Trump who uses my identity as a Palestinian as a slur. Let’s fight for the policies long overdue—from restoring access to abortions to ensuring a living wage, to demanding an end to reckless war and a ceasefire in Gaza. To those who doubt us, to the cynics and the naysayers, I say, yes we can—yes we can be a Democratic Party that prioritizes funding our schools and hospitals, not for endless wars. That fights for an America that belongs to all of us—Black, brown, and white, Jews and Palestinians, all of us, like my grandfather taught me, together.

She Dances with the Spirits

 

An American flamenco artist enchants audiences here and in Spain

By Linda Chase

 

Duende!

In Spanish folklore, duende is a supernatural spirit. In the flamenco tradition, it refers to passion and inspiration creating that moment when, through some mysterious alchemy, the dance transcends mere choreography and creates a profound experience.

For Lakshmi Basile, it’s all about the duende.

With her dark hair and expressive features, Basile radiates intensity as she dances, arms waving gracefully, body swaying, and hands clapping in time with the guitar. She strikes her heel rhythmically against the wooden floor, slowly at first, then faster, faster. Shouts of “Olé!” echo through the room. The air is charged with electricity. Dancer and audience are joined in a moment of shared passion and feeling — duende.

That was the scene at her recent performance in Santa Barbara, and those attending her show in San Pedro’s Grand Annex on Aug. 24 had the same kind of mind-blowing experience.

Basile, who goes by the stage name “La Chimi,” is a San Diego native but looks as though she just stepped out of a tablao in Seville. Her fluency in the art of gitano, or gypsy, style of flamenco has convinced even the most dubious Spanish critics that la Americana belongs in the pantheon of the world’s most accomplished flamenco dancers.

The quintessential Spanish art form known as flamenco originated in the Andalucía region of southern Spain in the 18th century. Its roots are found in the gitano (gypsy) culture that migrated to the area from India, along with Jewish and Moorish influences. From these simple folk beginnings, flamenco evolved into a complex layering of song styles, or palos, with each province developing its own distinctive version.

Flamenco is an intricate blend of el cante (the song), el baile (the dance) and el toque (the instrument). The songs, with their haunting modalities, evoke sorrow, heartache and lost love. Though not introduced until the early 20th century, the zapateado, or footwork, has become a signature element of the dance. The guitar is another relative latecomer that has become an integral part of flamenco.

The guitar is sometimes joined by castañuelas and drum boxes to accentuate the driving rhythms. In today’s eclectic interpretations of flamenco, you might also hear a violin, a flute, a saxophone, even a piano or flamenco harp. No flamenco performance would be complete without el jaleo, the raucous clapping (palmas), foot stomping and shouts emitted by performers and audience.

Lakshmi Basile’s gitano style of flamenco is rooted in tradition while allowing freedom for spontaneity and improvisation. Her earliest memory of flamenco was when she was about 3 and stood holding her mother’s hand while seeing nothing but the polka-dot ruffles of three flamenco singers. They were friends of her parents who were performers and founders of a band called the Electrocarpathians.

Literally following in their footsteps, Basile started dance lessons at 12. At 15, she had an epiphany. “I knew that flamenco was the one dance form that would allow me to fully express myself,” she said in a recent phone interview.

At 20, Basile followed her passion to Spain, where she encountered resentment from some of the other dancers. Que paso? they wondered. How did this upstart Americana get the solo gigs that by all rights should have gone to them?

“It was not an easy path,” Basile recalls. “I tried to be who I am and let go of the rest.”

More often, she found the exact opposite: acceptance, admiration, love. La Americana found herself welcomed with open arms in other circles and communities, in particular Los Gitanos. Enemies became friends, doubters turned into believers.

Basile was among the first foreign artists to win the coveted Concurso de las Minas de La Unión. Her performance at the Concurso Nacional de Arte Flamenco de Córdoba was described in a review as “un desgarrador homenaje a los románticos de lo jondo” (a heart-wrenching homage to the romantics of pure flamenco).

The ultimate benediction came from Ángel Ojeda, former Minister of Culture of Andalucía: “La única cosa americana que tiene es su pasaporte” (the only American thing she has is her passport).

Today Basile travels regularly to Spain to maintain her connection with the people and their passion for flamenco. Back home in San Diego, she teaches flamenco classes, along with private lessons and workshops. The mother of a two-year-old daughter, she is an avid practitioner of the martial arts and a believer in self-care who practices yoga and meditation.

Still, she felt something was missing. “I had to bring flamenco to me,” she realized, so she founded Alama Flamenca, a nonprofit that she hopes will help inspire a younger generation to fall in love with flamenco. Peña Flamenca Carmen Amaya, the club that it sponsors, holds monthly flamenco events in the San Diego area.

At her performance in San Pedro, presented by the Los Angeles International Flamenco Festival, La Chimi will be joined onstage by singer Pepele Méndez and guitarists Juan Medina and Pablo Heredia. Together, their formidable talents, displayed with imagination and improvisational flair, will work to create a memorable experience for the audience — moments of duende.

Linda Chase is a freelance writer based in Santa Barbara. She writes on the arts, travel, lifestyle and other topics. This feature is produced by the Journalism Arts Initiative, which is underwritten by donations from arts organizations and others interested in supporting excellence in arts journalism.

Pickled Peppers. The Common Denominator

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Sometimes the truth takes a moment to sink in before finally ringing true. Like when Chloe suggested that a sandwich is basically America’s version of sushi. At the time I happily took it as a compliment on the chicken sandwich I’d just made for her. But the more I got to thinking I realized she had quite a point. Both sushi and sandwiches represent pinnacles of compound complexity, both being composed of myriad pieces, each one of which requires a different process to create.

Her sandwich, for example, contained a blend of light and dark meats that I’d hand-peeled from a high-end rotisserie chicken and then refried in olive oil with slivers of new garlic. That chicken is a huge multi-step process all of its own, just to become a single layer in a matrix of complex components. Similarly, pickles are an ingredient that requires a recipe of their own. Chloe’s sandwich contained a sliced sweet pepper that had been pickled in the same jar as freshly roasted jalapenos. It absorbed the menacing flavor of the jalapeno without the punch, making you cringe like you are about to get smacked, but you get kissed by sweetness instead. As it happens there is a place for pickles in sushi as well.

My first cooking job ever was as a sandwich maker. I excelled. At about the same time I took my first cooking class, a ten-week course on sushi-making. That was 38 years ago, but the many lessons of that job and that class have remained fresh in my mind. Such as never to argue with a waiter who is high on cocaine. Or in the case of sushi making, the never-ending chore of hand-fanning the rice — to drive off the steam and cool it faster — whilst simultaneously paddle-fluffing the rice with the other hand. Once cooled, we would gently cut in the seasoned vinegar, using precise paddle motions that were developed to avoid crushing the grains of rice.

On the surface, making a pot of rice may not have much in common with breadmaking. But both processes share paramount cultural and nutritional importance in their respective societies of origin. Rice is the dietary backbone of Asia, and there are countless regional variations on how it is prepared and served. And in America, bread is considered the greatest thing since sliced bread.

I remember the frustration I felt during week 2 of my sushi class. After mastering rice-making the prior week, I was ready to start rolling up fish. Instead, we pickled daikon radish and ginger. In my youthful state of impatience, I did not appreciate the absolutely essential importance of the pickle. In sushi. In sandwich. In every other bite you take.

Whatever the context, the job of the pickle is always the same: to add a burst of acid with which to cut through the richness of the bite, like a sip of wine in a mouthful of cheese.

I would be remiss not to discuss the condiments. In the world of sushi, of course, soy sauce and wasabi rule. And they aren’t afraid of mayo. On the sandwich, we have mustard, which confers a fire similar to that of wasabi, and mayo as well. All told, both sushi and sandwiches can have pickles, proteins, mayo, and mustard/wasabi, all held together by culturally appropriate complex carbohydrates.

Every non-rookie sandwich maker knows the bread must be toasted to not be made soggy by the condiments and pickles. But sometimes that crusted bread can cut the inside of your mouth. I have a trick that breathtakingly solves this problem.

Put two slices of bread in a toaster oven, one atop the other so they are pressed together like an empty sandwich. This results in the outer sides of each slice getting toasted, while the in-facing sides remain untoasted and soft. When it’s time to make your sandwich, reverse the orientation so the toasted sides facing in, so you can lather them with mayo and other condiments as you do. The toasted sides won’t get sogged by the condiments, while the side of the bread slices that meet your mouth is as soft as the day it was sliced. Props to Steve Elliot of Lifeline Farm in Victor, Montana, for teaching me this life-changing trick.

Speaking of life-changing, today’s recipe is for the jar of pickled carrots and peppers that added so much pizazz to Chloe’s chicken sandwich. Whether it’s sushi, sandwich, steak, salad, soup, taco, scrambled eggs, or take-out…the contents of this jar are as versatile as hot sauce but crunchier. Alas, teaching you how to pickle is more responsibility than my lawyers will allow me to take on. However, on the off-chance that you already know the basics of pickling, or can read the instructions on a box of mason jar lids, I want to present you with the recipe. Follow it if you can.

Pickled Peppers and Carrots

The peppers will deliver sweet and spice, while the carrots give their earthy crunch. Altogether, the contents of this jar can improve nearly any meal.

For each quart jar:

1 tablespoon mustard seeds (brown or yellow or preferably mixed)

1 teaspoon salt

2 tablespoons sugar

2 cups carrots, cut into disks

4 jalapeno peppers, stems removed, flame roasted until the skins blacken if possible

4 sweet peppers, stems removed

Brine:

Equal parts water and cider vinegar

Notes:

Add the mustard seeds, salt, and sugar to the jar (s) first. Then the carrots and peppers. Heat the brine (2 cups per jar) and pour it into the jars. Process in a water bath according to the instructions included in a box of mason jar lids.

Sculptor Anna Erneholm, From Early Beginnings to Mastery

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An artist’s role in the community, her motivation and skills

“It’s really hard when you’re a student … working in wood requires a lot of tools,” said Anna Erneholm. “It’s hard to just do it by yourself. It’s good to be at a school that has the equipment because it’s hard to start up and tools are expensive. … To be able to experiment somewhere where there are people who know the tools and you can use tools … you learn a lot.”

Sculptor Anna Erneholm was discussing the joys and frustrations of being a student artist.

As a teaching artist at Angels Gate Cultural Center for 15 years, she has a lot of knowledge about this.

Matriculating through the primary grades of education in her native country of Sweden, Anna said she loved to make art in school and spent all her free time in woodshop class. In college, she studied art and architecture at the Chalmers University of Technology and the Valand Art Academy, both in Gothenburg, Sweden.

Anna, whose sculptures encompass the figurative and the abstract recounted how good she had it. By the age of 10, she was able to start carving. She said she feels terrible for her students because schools here don’t even offer woodshop at any level any more. It’s unfortunate because as Anna explains, when she tells the students what she does and shows them her tools, they want to try it.

“And you can see certain kids that you know … they would love it,” said Anna.

“I have a degree in architecture, but I always wanted to do art. It’s still good to have [the degree] because there’s a lot of basic ideas about space and volumes … that you can learn in architecture and you can use it in art also.”

Teaching Artist Program

Anna is located in the “J” building art studios, which sit between the Marine Mammal Care Center and the Korean Bell at Angels Gate Park below this hill. The structure is home to three artist studios ― all sculptors.

Through the Artist-In-Classrooms program, she teaches third graders in San Pedro, Long Beach and Harbor City. Recently, she facilitated a workshop in making “newspaper towers”― structural sculptures on how to make the tallest tower.

“It was a lot of fun because it was adults and kids together helping each other. Some things were completely amazing. They looked like satellites. There are some challenges because of the material … [we] had just newspapers and masking tape, that was it. People made amazing things, very diverse. Since they’re big sheets, if you roll them up tight you can get these really long sticks, but then you have to connect them so that they don’t just start falling. You have to stabilize them. That was one that I want to do again because it was so much fun.”

In June, Anna taught the ArtLab Art & Marine Science and Workshop at the Marine Mammal Care Center for “Your Portrait as a Pinniped.” The MMCC educators discussed how and why it takes in pinnipeds in need. Then Anna led a pinniped diorama workshop in building an underwater oasis for pinnipeds at the MMCC. After constructing the 3D diorama base and drawing and coloring pinnipeds in the students’ likenesses, they suspended them in the “water” with a recycled fishing line.

The sculptor came to the States in 2000, after she met her husband who is from San Pedro, while he was traveling in Sweden.

Anna has worked in wood, stone clay and bronze. Nowadays she prefers mostly wood. Several of her graceful granite sculptures that she made in Sweden are displayed in her studio. She works in granite less now, because she needs very specific tools like a compressor and air power tools, which are hard on your body, because of vibration she said, and because even if you wear masks you breathe in dust. This is what led her to start working mainly in wood.

“I just love wood,” Anna said. “I love the process [and] material. When I started, I sometimes bought exotic wood. They are expensive but always come out good.”

People have been giving her avocado wood and carob wood. From the latter, she created a piece titled Liv. Like many of Anna’s sculptures, this piece is at once abstract and organic with surprising, beautiful, red and creamy white wood, with subtle black lines and knots. Liv encompasses movement and depth, amid almost concentric-like swirls progressing horizontally and upwards, balanced atop a stone block.

Eventually, she started receiving local wood more frequently. One day, a tree on Meyler and 25th Street had to be taken down and Anna got a phone call. The renowned Harold Greene, the noted furniture designer and builder and multi-instrumentalist musician/producer (Fortnight Concert Series) called Anna to tell her they were taking down a carob tree and to come on over. Greene is also an artist at AGCC.

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Erneholm’s sculpture made of carob wood titled “Liv.” Photo by Arturo Garcia-Ayala

Industrial Wood Envisaged as Art

Anna came to use plywood for many of her works, in both small and very large forms. She started with a tiny model, just a few inches tall, she made years ago that looks just like an ice cream swirl. She knew it was going to be a big sculpture, but she didn’t have the space for it. So, she expanded her studio by taking down a wall. Then she considered how she might bring a trunk from a tree inside. It became complicated. She didn’t want to deal with the knots and other things in the wood, so she decided to try to make the sculpture from plywood.

“I didn’t even know if you can carve plywood because of how the grain goes,” she said. “I [did] some experiments before I did the big one. I had leftover pieces of plywood at home and I glued them together. Then I carved it and it worked. Then these [lines] started popping out and I was completely mesmerized. When you start sanding it, it’s so amazing. Plywood has this thing where it’s straight. From above … you got this straight line, obviously … But not from the side [where] you get these really nice shapes … the grains go around the rings of the tree so from above, you see all these rings and then from every side, you’re going to have these nice shapes.”

The artist quipped she wanted to sculpt with plywood, a material known for its industrial uses, while making her “crazy shapes.” Anna’s large “ice cream” sculpture, titled Vi, took her two years during COVID, to create the approximately three to four-foot high piece. It’s made of 30 sheets of plywood that are glued together as a block — weighing about 400 pounds.

Left, Erneholm holds an original model of her sculpture “Vi.” Right. the artists lifesize sculpture “Vi” made of plywood. Photos by Arturo Garcia-Ayala

Anna switches between plywood and other woods, going between bigger and smaller pieces at the same time. She loves sculpting so much that if she stops for a while she starts feeling stressed.

“It feels like something is missing, like [I’m] stressed out or nervous,” she said. “Then I am back to it and it’s like, this is what I was missing.

“I appreciate the fluidity of clay; whatever you’re feeling just comes right out [in] the clay right away. But wood is the opposite. It’s so stiff and takes time. I like to translate this fluidity in the clay into wood … through me and see what happens. So when someone tells me that they think the big one looks like ice cream it’s good because that was my goal.”

At one point, Anna got inspiration from ancient goddess statues from Japan and the Middle East. She copied them in clay.

These pieces are in her studio. Anna explained she sees the figure as a picture, then she makes it because she wants to feel how they are made. From her imagination of an image, Anna noted she wouldn’t even know what it would look like from behind. But she made it because she liked how goddesses felt so strong and they don’t care if you like them or not.

“I just want to feel, what is this?” she said. “They are strong in themselves. I wanted to get access to that and how are these sculptures made to have that in them?”

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Two of Erneholm’s ancient goddess statues.
Photo’s by Arturo Garcia-Ayala

Recently, Anna has been curious about hanging sculptures, which interest her because “once you hang the sculpture, it moves because it wants to find balance.

“How do you create one so that it’s going to hang the way you want it to? Maybe you don’t want to hang straight down. Maybe I wanted to have a curve. [I] have to think about that. It’s interesting because then you don’t have a base. It’s floating. So it changes what you can do, but you have to have it attached upwards instead somehow, so it’s a different way of working.”

These days Anna is more into creating than promoting her work. When asked if she goes through phases doing one or the other more, she confessed, “I go through phases where I’m thinking that I should do more but then when I come to my studio … I’m just working. It’s just the making of it, the process of it. It just feels like I have a lot more pieces that I want to make.”

Once she decides on a piece, she has about five months to work on it. She has to take her time, that’s her process. Most of her sales are private or from people who find her randomly, for example, on Instagram, as one woman did recently.

“She’s been coming by, buying things, which is amazing because I can’t sell for cheap,” Anna said. “I’m just going to keep it. So, I feel better [when] people come in for Open Studios.

“Angels Gate is good because they have shows here; they have shows in the downtown San Pedro area and they [ask] us, [do] you want to be in a show? [They] also push us in other ways to promote [our work] so, that’s really good. And it’s fun to exhibit … I should do it more often.

On Sept. 21, Anna will lead a free Family Art Workshop doing wood stick sculptures at AGCC.

Details: www.instagram.com/annaerneholm and www.angelsgateart.org/artist/anna-erneholm-2

That Commie Kamala and Other Weirdness

By James Preston Allen, Publisher

It was just a few weeks before the Democratic National Convention when I was sitting outside my regular coffee shop here in San Pedro when some right-winger barged out of the door and looked right at me calling me a “fucking Democrat.” I didn’t respond but thought about it for a long moment reflecting on all the times over the last 45 years I’ve been called a communist or socialist. Most of these people don’t even know the difference between the two and use them interchangeably. As I was sitting there drinking my double espresso I thought well this is something new I’ve been elevated to just being a democrat and that’s now a bad word?

Later, after a star-studded lineup at the DNC and some of the most inspiring speeches I’ve heard in a decade, the MAGA world has now decided after several attempts to call Kamala Harris derogatory names that she’s now a “Commie.” I suppose this is the latest desperate mudslinging attempt because it rhymes and Trump is losing ground in the national polls by almost 5 percentage points.

The three northern swing states Pennsylvania, Michigan, and Wisconsin are edging blue and the sunbelt states Nevada, Arizona, and even Georgia are nearly tied. The goal as you may or may not know is 270 electoral votes to win but to really bury Trump and the MAGA Republicans the three southern states would put her over 300, which would be a decisive blow and might even bring with Harris a majority in both houses of Congress.

In a commentary by an AAN-affiliated paper (RLNews is a member of the Association of Alternative Newsmedia), Bruce Van Wyngarden, of the Memphis Flyer wrote:

Think of the two major American political parties: When it comes to a cult of personality, one that features posters of Dear Leader, flags, religious iconography, clothes, and even tattoos, which party comes to mind? Which party has come out in support of banning books? Which party wants to give public tax dollars to private schools? Which party openly demonizes LGBTQ Americans and people of color? Which party wants to centralize power and give it to an authoritarian who will “be a dictator on day one”? Which party wants to control the healthcare decisions of the country’s females? Which party literally rejected democracy in 2020?

I don’t think anyone has said it better that calling Kamala Harris a communist is a complete absurdity, it’s delusionally panicked would be more accurate. And frankly, Trump and his followers would be hard-pressed to define what communist economics is or is not. China for instance is actually a communist country with a one-party rule that has been quite successful beating American capitalism at its own game. And the rise of Red China was mostly promoted by Republicans opening up “free trade” and shipping American manufacturing overseas.

The one thing we know about the one who would be a dictator on day one is that he’s obsessed with ratings, crowd size, and being in the center of the media spotlight. Harris’ crowds have been surging, her poll ratings surpasses Joe Biden’s and she has been snatching headlines with every move, leaving Trump fuming and pouting as national polls give Harris a 4-point lead.

When I was growing up in the 1960s the term Left wing commie still had some appeal to the John Birch Society and the young Republicans, especially during the Civil Rights movement and the Vietnam War protests. And there were some actual American Communists in those movements as well as closeted gays, feminists, and all sorts of what was then termed “radicals.” But then everything left of center politically was considered extreme. Even former ILWU President and later Port of LA Harbor Commissioner, Dave Arian thought of himself as a Marxist or Maoist in those days.

In the years since, America has educated itself and affordable health care, women’s right to reproductive services, and gay people coming out of the closet have all changed the landscape of cultural acceptability and politics. Even the Democratic party, as evidenced by the recent DNC has diversified dramatically in contrast to the majority white older RNC delegates. Kamala Harris’ campaign has embraced the future of American diversity, and in doing so, has taken back what it means to be an American patriot, the flag, and the ideal of freedom from the Republican party.

Trump and his allies are living in a past that no longer exists and I believe that the virus of hate that he has inspired will be vaccinated by hope, freedom of choice, and a liberation from arcane ideologies and the trickle-down economics of the past.

After all, this is one of those moments in our history where progressive change is actually possible and whatever you want to call Kamala Harris she’s the one to prosecute that change.

Random Happening: Musicians Organizes Benefit Concert For Long Beach Musician, Artist Kenny McBride

 

The creative community and patrons of the arts are invited to participate in a benefit concert in support of Kenny McBride, Sept. 5, at DiPiazza’s Restaurant in Long Beach. Kenny is a muralist. With his wife, Anna, they’ve painted huge pieces for the Bowers Museum in Santa Ana, in schools, in private homes and for corporate clients. He’s also a composer and guitarist, writing and recording with Plasma Pool.

Kenny also has myelofibrosis, an uncommon form of bone marrow cancer. He’s been working, and playing music, but sometime soon he’ll undergo a treatment that will essentially destroy his immune system and replace it with a new one. During this process, which can take six months to complete, he’ll become completely cut off from the world, unable to work or even hug his wife.

The creative community has come together in support of Kenny. Steve Guillen, owner of DiPiazza’s Restaurant, has graciously agreed to host a fundraising concert. Local bands Hamapple and One Square Mile or 1SM, along with Plasma Pool, will perform the evening of Sept. 5. All funds from presale tickets, and collected at the door, will go straight to sustain Kenny during his isolation.

Guillen, who has owned and operated DiPiazza’s Restaurant since 2020, was happy to help.

“I am proud to continue the tradition of supporting local live music, from kids learning to play to national touring acts,” he said. “We offer the best pizza in town and, more importantly, I’m proud that we have a space where the community can come together and support their loved ones during challenging times.”

Vanessa Kaylor Phillips, front person for 1SM, didn’t hesitate to participate. “I don’t know Plasma Pool,” she said, “but as a musician they are not strangers to me. I would be lost without music. Together, we can help raise up our new friends, as I know they would do the same for us.”

Mike Woods, lead singer for Hamapple, agreed. “We are excited to be back at DiPiazza’s to support a good cause,” he said. “We are always willing to step up to help out. That’s what helps build a community and a strong music scene.”

Kenny, and Plasma Pool lead singer Jack Mantych, had a successful band, Circus Maximus, in their first years after high school. Three years ago they rejoined forces and Plasma Pool was born. “It’s been one of life’s greatest treasures to not only have a friend in Jack,” Kenny said, “but to share in the same dream, twenty years on. It feels so special and rare that I honor every note we play together.”

Kenny has been profoundly moved by the support he’s received from the creative community. “To be honest, it’s a bit overwhelming,” he said. “I’ve lived in Long Beach for about 10 years, and I’ve always felt at home here, but to see this kind of generosity is just beautiful.”

Advanced tickets to the concert are on sale at the link below. If you don’t want to pay in advance, a $10 donation at the door is also welcome. For those who are unable to attend, everyone is welcome to contribute to Kenny’s GoFundMe campaign. {https://www.gofundme.com/f/donate-to-help-kenny-mcbride}

Time: 7:30 p.m., Sept. 5

Cost: $12.51 via Eventbrite

Details: https://tinyurl.com/I-Saved-Kenny-Benefit

Venue: DiPiazza’s Restaurant, 5205 Pacific Coast Hwy in Long Beach

Links:

Kenny McBride GoFundMe Campaign: https://www.gofundme.com/f/donate-to-help-kenny-mcbride

McBride Arts: https://www.mcbridearts.com/

Plasma Pool: IG: https://www.instagram.com/plasma.pool/

One Square Mile: https://linktr.ee/1smhb

Hamapple: IG: https://www.instagram.com/longbeachhamapple/

How Three Generations of San Pedro Union Workers Inspired a New Activist Group

 

By Rosie Knight, Columnist

In a new series, we will highlight the work and members of Latinas Acting Up. In this Labor Day edition, we interviewed Sara Portillo, one of the members of the activist group.

Latinas Acting Up is the brainchild of actors Diana Maria Riva, Lisa Vidal, Constance Marie Angelique Cabral, and Gina Torres who came together during the 2023 SAG-AFTRA strikes to craft the activist group focused on highlighting the voices of Latinas in Hollywood.

“They are the pioneers who made this possible for any of us to be brave enough to step onto those picket lines,” San Pedro resident and LAU member Sara Portillo told Random Lengths News. “They welcomed us without ego, with open hearts. They are the game changers. I am simply adding strength to something they already created.”

The group met on the picket lines, and as Portillo put it, “Realized that there was a need for collaboration. And that we could help win this fight, as well as raise our visibility, united and collectively.”

It was a huge moment for Portillo who had been out of the acting game for over two decades. “Before I went to the picket line I was very scared and nervous because I’d been out of the industry for 25 years. I debated even showing up because I wasn’t sure I was worthy.” That feeling was something sadly familiar to Portillo. “As Latinas in any sector, we tend to have this mindset that we’re never enough. You’re not Latina enough, you’re not Mexican enough, you don’t speak Spanish enough, you’re never enough. Unfortunately, that is a very common misconception and a generational curse that many of us share.”

But Portillo had a secret superpower: Three generations of San Pedro union workers who had very distinct thoughts on whether she should be at the picket. “I called on my brother, who is a tugboat captain with the Inlandboatmen’s Union of the Pacific and he had to remind me very swiftly, ‘Hey, we are a union family. It doesn’t matter if you’ve got one credit, two credits, or 20 credits, your union needs you, and you are a proud Mexican American, so you get your butt out, you fight for what’s right.’ Next up was her dad. “I consulted my father who is a Vietnam Veteran who told me ‘You better push through your fears and do what’s right.”

Finally was her Grandfather a 94-year-old pensioner — retired after a life at the docks — “We have a very long history at the Port of Los Angeles. He told me ‘As long as you’re benefiting from Union privileges, then you go do what you were raised to do, and that is to fight for the greater good. And that has literally been my mindset this entire time.'”

The founding of Latinas Acting Up feels like something akin to divine timing to Portillo. “I came in with all these fears and all of the strength, combined with my family backing me, and together, we formed this really strong platform.”

A year after the strike the group’s aims are distinct, the first and foremost is the existential threat of AI to all workers in the industry. Next up and equally as important is to raise visibility for Latinas in the industry. “We’re all actresses first, and we want the roles that have been withheld from us since the beginning of time.” That’s something that speaks deeply to Portillo who obviously has personal experience with that very issue. “I want to challenge labor laws, and I want to challenge discriminatory practices within the entertainment industry. Yeah, there are way too many Brown roles over the course of time that have been handed to white Americans.”

Speaking of visibility the group has been one of the few organizations showing up at the continuing picket lines for Video Game Workers in LA as the org strives for better rights. “It’s a no-brainer. You know? These are fellow humans that we will be working with forever. Hopefully, Solidarity in Hollywood is probably really coming to fruition for the first time in many years, right? It’s an ego field industry, and the jobs are not guaranteed. These artists are working five, six jobs just to do what they love and make other people happy. So if we can unite on that common ground, well then we’re unstoppable.”

That mindset of solidarity is key to LAU and their view on Hollywood as a whole a year after the strikes.

“We are at a standstill until everybody gets what they want. Whether that’s the video game performers, the casting agents, the writers, the animators, the musicians,” Portillo said.

“We are all working-class artists, and I strongly believe that prior to our strike, the misconception with the rest of the unions in the world, we [thought we] were untouchable… that Hollywood is all about glitz and glam and movie stars and everybody is a millionaire.

Portillos said she feels that the curtain was pulled back on the “reality of who is behind the making of this entertainment, of these movies, of these TV shows, of these cartoons.”

“I want to point out to the laborers, yeah, the Hollywood laborers never got the credit they deserved prior, and now it’s just like, okay, we are all in this together,” the actor and budding film producer said.

As for the future of LAU, the group is planning to go national with a chapter in Chicago recently launched and New York and Texas next. The group was represented at Labor Notes and LAU is in the coalition at the Port of LA, with Portillo the first SAG-Aftra member in 45 years.

Port Honors Generations of Workers with Labor Exhibit

 

By Daniel Rivera, Labor Reporter

 

On Aug. 27, the City of Long Beach, in collaboration with the Historical Society, set up an exhibition at the Long Beach Port Administration Building to celebrate labor day and worker contribution to the port.

“Through the collaboration of the Long Beach Historical Society and the Port of Long Beach [the exhibition tells] the story of the workers, not just what the port is, but how the port became what it is,” Long Beach Port Commissioner Bobby Olvera Jr. told Random Lengths News.

The exhibit intends to reach as far back as possible to highlight the multiple generations who contributed to the port.

“Often we only look at shiny things. We don’t look at the strife, the blood, sweat and tears that generations of workers, generations of men and women contributed to make this complex so fantastic,” Olvera said.

The exhibit began life as a mere idea discussed for about three years between the executive of the Historical Society and representatives of the port.

“Some port representatives and I have been talking about it for three years, and at the beginning of 2024, we got serious about it. We have to make this happen this year, and opening around Labor Day seems like the right thing,” Julia Bartolotto, executive director of the Historical Society of Long Beach, told Random Lengths.

The exhibit includes various newspapers dated back to labor events, uniforms, tools and some photographs from various times and industries involved with the port. Also included is the history of First Nation people like the Tongva and their contributions to the port long before it became an industrialized hub with the overland trade routes along the coastlines and river systems.

The port has been in operation for over a millennia, if the history of First Nations people is included in the timeline.

“They also made wood plank boats they used for trade, which is something the port of Long Beach does today, but they did for thousands of years, trading in the Pacific islands, throughout the Channel Islands, and to Vancouver Canada,” Brian Chavez, project specialist for the Historical Society told Random Lengths. He is responsible for collecting and picking the exhibits.

“What we found is that they lived in a way that was known as traditional ecological knowledge, using the natural environment to enrich their way of life, but in a way that was sustainable,” Chavez said.

A large part of the First Nations influence revolves around sustainability. Indeed, Long Beach has expressed more and more Tongva representation in combination with sustainability practices.

The ports have undertaken several measures to reduce their impact on the communities they service, from switching to electric fleets, using alternative fuel sources, and chasing efficiency by making seemingly small but important changes, like having the trucks travel at night when there is less traffic out.

The collection has a variety of sources, large swaths of the collection either came from the Historical Society and Port of Long Beach collections. However, various community contributions helped fill the holes in the record.

The exhibit is located in the Long Beach Port Administration Building, and will remain there until Nov. 15. They are feeling out the community’s interest, explaining that it depends on the local desire for this history. It may travel, however, it will likely return to the Historical Society’s museum located in Bixby Knolls in the spring.

“The Historical Society of Long Beach has a museum in Bixby Knolls, so this is a great opportunity to do an exhibition somewhere else … in the spring it will travel and be hung up in the historical section of Long Beach,” Bartolotto said.

 

Labor, The Election Stakes, And What Lies Beyond

 

“This election comes down to one question, which side are you on?” UAW President Shawn Fain said on the first night of the Democratic National Convention. Politically, the choice was clear. “On one side we have Kamala Harris and Tim Walz, who have stood shoulder to shoulder with the working class. On the other hand, we have Trump and Vance. two lapdogs for the billionaire class who only serve themselves.”

Fain’s endorsement—echoed by other labor leaders—comes at an opportune time. Support for unions is at a 50-year high, more than 60 million workers wanted to join a union but couldn’t last year, according to a report by the Economic Policy Institute, and more than 60% support a $15/hr minimum wage—or even $17/hr according to a recent Data For Progress poll. There is potential for dramatic labor gains—both in union membership and wages for all workers. And the Harris/Walz ticket is the logical vehicle for making those gains.

Harris promises to continue in Biden’s footsteps as the most pro-union, pro-worker President since FDR. Like him, she has repeatedly spoken out in support of unions, as well as working behind the scenes, while Walz, a long-time union member, brings a strong legislative record as well. The record-setting job creation of the Biden/Harris administration is a topline emblem of their accomplishments—they helped millions avoid the agony of prolonged unemployment and underemployment that followed the great financial crisis in 2007/8. And the series of spending bills that helped do that all had strong labor protections built into them.

Harris also headed up the White House Task Force On Worker Organizing & Empowerment, which coordinated the first-ever whole-of-government initiative to support workers’ right to come together to improve standards. This involved more than 20 agency heads and Cabinet leaders, it issued more than 70 recommendations and ensured follow-up by publicly tracking progress. An example of what this means is the inclusion of labor leaders in advisory committees at the business-dominated Department of Commerce, as well as a memorandum of understanding codifying collaboration between the Departments of Labor and Commerce.

But the bigger question is not if Democrats are on the side of labor, but how hard they are willing to fight. A parade of other labor leaders raised expectations high. Support was also voiced by AFL-CIO President Liz Shuler, IBEW President Ken Cooper, LIUNA President Brent Booker, CWA President Claude Cummings, and ASCFME President Lee Saunders, citing different aspects of how Biden and Harris had supported workers since 2020, and how Harris and Walz would continue supporting them. But none raised expectations more pointedly than SEIU President April Barrett.

“It is going to be together that we write new rules, to make it easier for all workers to join a union,” Barrett said. “And we are going to end poverty-wage work for once and for all.”

In concrete terms, that means passing two key pieces of legislation: The Protecting the Right to Organize (PRO) Act, which would be the first significant strengthening of labor law since the 1930s, and the Raise the Wage Act which would more than double the federal minimum wage to $15/hour. There’s strong public support for both measures, but Republicans have blocked them in the past, thanks to the filibuster. So being willing to ditch the filibuster — or at least limit or modify it — may prove crucial in the fight ahead.

The choice of Walz as Harris’s running mate raises hopes that Democrats will finally overcome that opposition, with the urgency and focus that he brought as governor. Minnesota Democrats had a similarly narrow window of opportunity after the 2022 midterms when Walz won re-election and Democrats won control of the state senate for their first trifecta in a decade by just 321 votes. While other blue states with far larger majorities have struggled to pass progressive legislation piece by piece, Democrats under Walz passed a sweeping progressive agenda—dubbed the “Minnesota miracle”— encompassing everything from free school lunches and expanded child tax credits to protecting reproductive rights, expanding voting rights and creating a healthcare public option, along with a package of labor protections including paid family and medical leave, and prohibitions on non-compete clauses and captive anti-union meetings. It also strengthened protections for meatpacking workers and Amazon warehouse workers, introduced wage theft protections for construction workers, created a statewide council to improve conditions for nursing home workers, and authorized teachers’ unions to bargain over educator-to-student ratios. Paid leave alone is enough to make Minnesota stand out: a rarity in America, it’s commonplace in the rest of the world. Only a handful of less-developed nations don’t have it.

In explaining the scope of the Minnesota miracle, Walz said, “You don’t win elections to bank political capital. You win elections to burn political capital and improve lives.”

So the Minnesota miracle highlights the need for continued activism of the sort Barrett invoked. “We are going to build a younger, darker, hipper, fresher, sneaker-wearing labor movement. A movement that’s going to be more inclusive and built for the middle class,” she said.

That’s already happening, according to a January report from the Economic Policy Institute: “Unionization among workers of color accounted for the entire increase in the union level in 2023, and Black workers had the highest unionization rate at 13.1%.”

It was largely fast-food workers of color fueling the “Fight for 15” campaign that began in December 2012 who are responsible for lighting the fuse of the current labor movement resurgence. Democrats came close to meeting their ultimate goal of passing a federal minimum wage of $15/hour in 2021 as part of the American Rescue Plan before its inclusion was nixed by the Senate Parliamentarian. In the past, Republicans have quickly replaced a parliamentarian who blocked their tax cut efforts, but Democrats were unwilling to take similar action on behalf of poverty-wage workers.

That was 2021 when the nation was still reeling from the COVID pandemic, and many other things were top of mind. In the aftermath, President Biden did what he could via executive action: he raised the minimum wage for federal workers and contract employees to $15/hr. This raised the pay of nearly 70,000 federal workers and 300,000 contractees.

In 2025, things will be quite different, and the need to raise the minimum wage—“to end poverty-wage work” as Barrett put it—will only be more urgent. The same applies to the other goal she highlighted: writing new rules “to make it easier for all workers to join a union,” which is what the PRO Act is all about. While Project 2025 would weaken unions in multiple ways, the PRO would do the opposite, reversing decades of eroding labor rights. Under Biden, the National Labor Relations Board (NLRB) has already taken significant steps to strengthen workers’ right to organize, but those are vulnerable to court challenges, and changes to the basic law can go further on multiple fronts. Under the PRO Act:

  • Employers are required to follow a timely process leading to a first agreement. It uses mediation, and if necessary, binding arbitration.
  • Employers can no longer drag out the union election process through endless litigation. Workers and the NLRB set union election procedures.
  • Employers are prohibited from forcing workers to attend captive audience meetings where they deliver anti-union messages without allowing the union to respond.
  • Limits of workers’ fundamental right to strike are removed: it prohibits permanently replacing striking workers, bans the use of offensive lockouts, and removes prohibitions on secondary activity.
  • The NLRB will go to court and get an injunction to immediately reinstate workers who are fired for union activity.
  • Employers who violate workers’ rights face civil penalties, corporate officials can be held personally liable, and workers themselves are allowed to sue.
  • Forced arbitration agreements—waiving rights to collective or class action litigation—are banned.
  • Misclassifying workers as independent contractors—depriving them of workers’ rights under labor law—is itself a labor law violation.
  • Employers can no longer use contractors and subcontractors to evade collective bargaining. All All firms that share control over workers are considered employers, who are required to bargain with them
  • Even called “right-to-work” states must allow private employers and unions to enter into “fair share” agreements enabling unions to collect fees to cover the costs of bargaining, contract administration, and grievance processes that unions are required to provide for them.

While this list would amount to a sweeping improvement in labor law, it’s not all-inclusive, as explained in a recent article from the Center for Economic and Policy Research, “Workers, Unchecked: The Case for Card Check This Labor Day.” Card check is a quick way for workers to gain union representation. They simply sign an authorization card indicating their support, and once a majority have signed cards, the union is recognized and contract negotiations begin. It’s a quick alternative to holding a certification election, which in current practice gives employers enormous advantages in discouraging workers from voting to unionize.

Card check was allowed under a provision in the 1935 National Labor Relations Act that was removed in the conservative 1947 Taft-Hartley Act. But the Joy Silk decision two years later preserved its use in the absence of a “good faith doubt” about the union’s majority status. The Joy Silk doctrine was followed for 20 years, until an NLRB lawyer mysteriously misrepresented the board’s policy in a Supreme Court case, resulting in the removal of the good faith standard. As a result, it’s become virtually impossible for unions to gain recognition via card check, except in jurisdictions where some state laws support it.

But in 2022, NLRB’s lead attorney, Jennifer Abruzzo, a Biden appointee, filed a brief in the Cemex case, arguing that the board should return to something resembling the Joy Silk doctrine. And in August 2023, the board agreed, giving employers two weeks to file for an election, if they refused to recognize the union based on card checks. This improvement falls short of fully reinstating Joy Silk, much less the original 1935 law allowing card checks outright, and it’s also vulnerable to right-wing judicial attacks. Indeed, Donald Trump’s wealthiest backer, Elon Musk, is pursuing a lawsuit to have the NLRB itself ruled unconstitutional—and with the half-Trump 6-3 conservative supermajority, that threat is very real. In its shadow, reversing the new Cemex standard might be falsely advertised as striking a reasonable “balance.”

As the CEPR article sums up, “Though the PRO Act does tackle some of the worst employer delay and obstruction tactics, the closest it comes to enshrining card check certification is by imposing it as a penalty on employers who fail to abide by tightened election rules.” Thus, it goes on to argue, “Federal lawmakers should move to not only codify card checks as a valid means of union certification but also change the laws that give employers undue standing and ability to interfere in union organizing.”

Another indication of the need for more vigorous action came the day after Fain, Barrett, and the other labor leaders gave their endorsement speeches. On Aug 20, a federal judge in Texas on Tuesday blocked a key pro-worker regulation from the Federal Trade Commission that was due to go into effect on Sept 4.

The regulation, announced on April 23, bans the use of non-compete clauses in employment contracts, a practice that’s used to severely restrict workers’ freedom to change jobs. “Noncompete clauses keep wages low, suppress new ideas, and rob the American economy of dynamism, including from the more than 8,500 new startups that would be created a year once noncompetes are banned,” FTC Chair Lina Khan said in a press release. “The FTC’s final rule to ban noncompetes will ensure Americans have the freedom to pursue a new job, start a new business, or bring a new idea to market.”

It was estimated to increase earnings for the average worker by $524 per year while lowering healthcare costs by up to $194 billion over ten years, and increasing the number of patents by an average of 17,000 to 29,000 per year. But the judge ruled it was “arbitrary and capricious,” and that “the FTC lacks statutory authority to promulgate the Non-Compete Rule.”

The practice of a single trial judge blocking a nationwide rule from going into effect used to be extremely rare, but it’s become commonplace in the Trump era, encouraged in part by a Supreme Court that acts more like an unelected legislative body than a judicial one. So while the decision very likely will be appealed, its fate remains very much in the air.

For 40 years the “Chevron doctrine” meant that courts deferred to federal agencies in interpreting the underlying law they relied on. But in one of many cases overturning precedents recently, the Supreme Court tossed out that standard in June in the Loper Bright decision. Within days of each other, the Supreme Court stripped federal agencies of their authority and power to interpret the law and granted unlimited power to the President by granting complete immunity to prosecution for official acts.

And so it is that the labor movement finds itself involved in some of the most arcane power struggles of our time. But it’s not a new situation at all. From the 1890s through the late 1930s, labor and its allies—some closer than others—repeatedly battled against the power of the courts. Over time different ideas were proposed to limit their power to thwart the democratic will of the people. For far too long those fights of yore have been forgotten, but like it or not, they’re upon us again. By all means, Harris and Walz have been champions of workers’ rights in the normal scheme of things as they have been for the past 40-some years. But when the dust settles after the election in November, do not expect us to be in the normal scheme of things anymore. Bigger fights lie ahead.

In her acceptance speech, Harris said, “We are the heirs to the greatest democracy in the history of the world.” But so long as we let unelected judges rule over us, we are not as great as we should be. There was a time when the labor movement knew this in its bones. That time is knocking on our door again.

Californians Can Now Add Their Mobile Driver’s License to Google Wallet

 

SACRAMENTO — On Aug. 23, the California Department of Motor Vehicles added Google Wallet as an option to hold secure, convenient, and private digital driver’s licenses and identification cards.

California is now one of four states to offer a digital driver’s license in Google Wallet. Last week, the Gov. Newsom announced mobile driver’s licenses would also be coming soon in Apple Wallet.

In 2023, as part of the statewide Digital Identity Framework, the DMV introduced the California DMV Wallet mobile driver’s license (mDL) pilot program. To date, more than half a million Californians have added the mDL to their smartphones.

“We continue to expand the availability and acceptance of digital licenses and identification cards,” said DMV Director Steve Gordon. “Having an mDL in your smartphone wallet is a huge convenience for Californians.”

The state’s mDL pilot program is ongoing and currently limited to 1.5 million participants.

Presenting your mDL in Google Wallet and the California DMV Wallet app is currently accepted as a valid form of identification at select retail locations and TSA airports. The DMV continues to work with public and private partners to encourage broader acceptance of the mDL.

“Google Wallet makes navigating day-to-day life easier by giving people convenient and secure access to everyday essentials like your payment cards, loyalty cards, concert tickets and more,” said Jenny Cheng, vice president and general manager of Google Wallet. “Our research shows that having a way to save an ID to Wallet is critical in order for people to feel like they have a complete digital wallet. By bringing this capability to Android users in California, we’re excited to provide yet another way for people to move seamlessly throughout their day.”

In the future, the mDL will work in partnership with California’s Digital ID Framework that securely and conveniently allows the state to verify people’s identity.

The mDL does not replace the requirement to carry a physical driver’s license while driving, but does give Californians another convenient option for identity verification and more control over how they share their information – offering the choice to display name and age information only when presenting for ID checks. Pilot participants still must carry their physical card, though acceptance and uses of the mDL will continue to evolve.