Wednesday, October 15, 2025
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Art, Authenticity vs. Hypocrisy Why the Arts Matter to Downtown Communities

Older downtowns throughout California were struggling before the COVID-19 pandemic; most have not recovered. It’s a huge loss in jobs, wages, and tax base for both cities and the state. This is also true in San Pedro and other parts of the greater Harbor Area.

Vacancy rates are up, small businesses are struggling to survive in general, and civic leaders are confused and will try almost anything to change this decline. Here in San Pedro, the San Pedro Property Owners Alliance has taken to promoting the “night market”, which, for all intents and purposes, is nothing more than a swap meet on the First Thursday, which historically was the art walk and restaurant promotion night. Many are shocked.

At the ArtWalk’s peak, the streets of downtown Pedro were crowded with more than 3,000 people, and it was a great party night. I used to call it “the pay the rent party” for most of the restaurants, but since the pandemic, this has changed.

What the SPPOA has done in a naive attempt to cure this with the night market is absolutely wrong because it destroys the intent of the art scene, and does nothing to actually support the arts in general. So why does this even matter?

Some 20 years ago, I realized what was perfectly obvious to myself and many others, which is that San Pedro has had a very long history of creative arts here. It is what you may call an “organic” arts culture. I wrote up the vision statement to create the San Pedro Arts and Culture District, which was endorsed, embraced, and then ratified by the LA City Council as an official district of Los Angeles.

About this same time, the San Pedro Chamber brought in the Urban Land Institute (a group of urban planners and notable architects) to study the downtown area and offer advice. One of their top three findings was that while other towns have to invent an arts district, we had a vibrant, organic one with hundreds of artists, musicians and craftsmen here. It was considered one of our “assets” along with some of the historic buildings that they recommended be preserved. When the original ACE district was formed under my leadership, the Community Redevelopment District promised and delivered $500,000 to support the arts.

Before the ink was dry on that deal, the leadership of the SPPOA came up to me and promised that they would fund the arts district with more money sooner than the CRA would. That promise never happened, still hasn’t happened, and in the end, the CRA money came through and benefited many artists and arts organizations — it was an investment in the vision. Today, the only vision the SPPOA has is built upon the vagaries of the tourist industry and the promise that the West Harbor is going to be a bigger destination than what Ports O’ Call Village was in the 1970s and 1980s.

In the meantime, San Pedro has attracted the eyes of the speculator development class, who buy up properties and “land bank” them, waiting for the values to rise based upon the great success of the West Harbor development. Many of these business properties lie vacant, dilapidated, or even demolished but never built, and are a blight on the community and its aspiration for economic development.

And what happens is that the “organic arts community” gets threatened with rising rents because of what? There are too many vacant storefronts, which won’t be rented at the rates the landlords are asking, and you’d think that the lack of demand would lower the prices of rent instead of raising them.

So, let’s bring in a cheap night market and only advertise it on social media and not tell anyone local what we are up to. There’s a quote in the Bible that goes, “where there is no vision the people perish,” and sadly, folks, the leadership here has no real vision for the downtown arts district other than as a bullet point on the propaganda to draw tenants to the new developments. I’m sorry to say it, but if you don’t invest in the things and people that you’ve got, you are going to destroy all of the creative things in pursuit of the golden calf on the waterfront.

In other waterfront towns, the leaders recognize and invest in the arts and culture.

“We’re bringing positive energy to downtown Oakland through cultural programming, vibrant public spaces, and thriving small businesses,” said Mayor Barbara Lee. What San Pedro has is authenticity, something other places try to invent, that have no history, that have no cultural context, things that we do.

And yet former LA City Councilman Joe Buscaino, without any historical context, designates one piece of the Downtown as Little Italy, ignoring the 20 or 30 other nationalities and saying that the 5,000 people in Pedro with Italian surnames are the largest collection in California. Now I eat pizza and linguine like anyone else, but I take a certain offense to one group commandeering a piece of my town that historically had more dive bars, whorehouses and gambling joints than any other port town on the West Coast. Designating it as Little Italy is completely ahistorical, and the redevelopment of Pepper Tree Plaza into Piazza Italia is completely absurd — stupid in a word.

It is far past time for the SPPOA, the San Pedro Chamber, and the LA City Council to fund the arts at a sustainable level and for the landlords to understand basic market principles of supply and demand — quit gaming the rents! And while the city seeks a means to fund the arts, perhaps a special tax on vacant properties would be an incentive.

Instead of commandeering First Thursday for a Gypsy Swap Meet just put it on anyone of the other days of the month and let the ArtWalk be the art walk. And then invest just two percent of your budget supporting the arts!

Many Winters Gathering of Elders

 

The 19th Many Winters Gathering of Elders (MWGOE) will be held at Angels Gate Cultural Center (AGCC) Oct. 9 to Oct. 12.

The MWGOE is a four-day gathering where Native/Indigenous Elders and knowledge-keepers from across the country gather to share teachings through oral tradition with the community. The Gathering also hosts Native ceremonies throughout the four days. MWGOE is held in partnership with AGCC, open to the public, free to attend and family friendly.

The MWGOE plays a vital role in the Native community of greater Los Angeles, with the participation and support of the original peoples of the land. The vision of the Gathering is to host a sacred space for people to come together, with the intention to listen, learn from and support Indigenous communities, and to inspire a healthier future for all people.

Elders from local tribes including Gabrielino-Shoshone, Gabrieleno Tongva, Acjachemen, Fernandeño Tataviam, Chumash, and other California tribes have attended in the past and will join this October. Tribal Elders from other regions (Arizona, Minnesota, Nevada, New Mexico, North Carolina, Oklahoma, South Dakota and others) are expected, as well as Elders from Canada and Mexico.

The Gathering takes place under an arbor which serves as the traditional place of teaching and learning – where Elders pass on knowledge to the younger generation, which is part of intergenerational healing from historical trauma.

The 2025 MWGOE Logo Art was created by artist Jamie Rocha (Gabrielino-Shoshone Nation). This year’s design features a turtle representing North America, or “Turtle Island,” as referred to by many Indigenous people. Read more about this year’s logo here.

During the Many Winters Gathering of Elders, no alcohol, drugs, cameras, pictures, video or other recording equipment are allowed; the MWGOE Organizing Committee requests that attendees respect and observe ceremonial protocol, available on the MWGOE Linktree. No dogs/pets allowed near or around the arbor or sweatlodge areas.

Time: 11 a.m. to 6 p.m., Oct.9 to Oct. 12

Cost: Free

Details: https://tinyurl.com/MWGOE-2025 And Learn more about MWGOE at: https://linktr.ee/mwgoe

Venue: AGCC, 3601 S Western Ave. San Pedro

Gal Pals & Pet Pals: Storytellers & Rescuers Unite for a Night of Community

Editor’s note: An earlier version of this story listed the date of Gala as Oct. 1. It has been corrected to Nov. 1. We are sorry for the error.

 

Two local nonprofits with totally different missions have come together to tap into the strength of community. This November, celebrate the power of storytelling and compassion with Girls IN Focus or GIF and Pedro Pet Pals or PPP as they join forces for their first collaborative fundraiser gala, Gal Pals & Pet Pals: Storytellers & Rescuers Unite.

The event happens Nov.1, at the San Pedro Elks Lodge, featuring a buffet dinner, live music, boutique vendors, a live auction, a fashion show, and karaoke to close out the night—all within a Día de los Muertos–inspired celebration.

In 2024, GIF students turned their cameras toward their own community, creating a documentary project titled Compassion In Action, which spotlighted Pedro Pet Pals. Through interviews with founder Theresa Sardisco, the short film chronicled PPP’s early beginnings and ongoing impact. The piece highlighted the importance of animal rescue, but also proved how young filmmakers can create work that inspires empathy and change. Compassion In Action will be screened at the Nov. 1 fundraiser gala, bringing the partnership between storytellers and rescuers full circle.

GIF With Camera Shot 1
GIF working with the camera. Photo courtesy of Girls IN Focus.

Storytelling IN Focus

Founded by filmmaker and executive director of GIF, Dunya Djordjevic, Girls IN Focus is entering its 7th year and preparing for the 2026 Summer Filmmaking Intensive at Pixels Studio in San Pedro. Open to girls and non-binary youth ages 12–18, the two-week summer intensive program turns no students away. Emulating a professional film set and etiquette, participants collaborate to write, shoot, direct, act in, and edit their films, while receiving workshops from film industry professionals to learn the technical and creative processes. The program culminates in the annual GIF Film Fest, a public red-carpet screening that showcases every film.

“It’s transformative for girls to see their stories up on the big screen,” said Djordjevic. “They leave knowing their voices matter. 100% of our alumnae have gotten into top film schools with their films in line with the organization’s mission to ‘shatter the gender gap in film one girl at a time.’”

GIF Premiere 1
Girls iN focus at past gala. Photo courtesy of GIF

Compassion in Action

For Pedro Pet Pals, the mission is equally powerful: every animal deserves comfort, care, and a chance at a better life. The all-volunteer nonprofit adopts out hundreds of animals each month while supporting local shelters with essential supplies, lifesaving equipment, and community programs such as spay/neuter services and pet owner education. Their work creates a more compassionate future for animals in San Pedro, the South Bay, and beyond.

Pedro Pet Pals Kitty Pic 1
Pedro Pet Pals kitty. Photo courtesy of Girls IN Focus.
Councilman Tim McOsker with PPP pup. Photo courtesy pf GIF.
Councilman Tim McOsker with PPP pup. Photo courtesy pf GIF.

 

 

 

 

 

 

 

 

Shared Values

With Pedro Pet Pals rescuing animals and Girls IN Focus nurturing storytellers, the gala will celebrate shared values of compassion, vision, and women led businesses in the community. Guests can expect a festive evening of entertainment, plus meet 10 woman-run local businesses inside the pop-up boutique, in addition to supporting two grassroots nonprofit organizations and making a lasting impact locally and beyond. All proceeds are divided equally 50/50 for GIF scholarships and PPP much needed supplies.

Looking Ahead

Today, with its alumni entering film studio jobs GIF continues to pave the way for the next generation of filmmakers from its home base at Pixels Gallery & Creative Space Studio in San Pedro. Enrollment is open for the June 2026 Summer Filmmaking Intensive: girls-in-focus.com/intesive-focus-2026

Monthly weekend workshops are also offered on zoom year-round. Check for film screenings and workshops at: www.Girls-IN-Focus.com; Email questions and scholarship requests to: info@girls-in-focus.com

For PPP the work continues daily—rescuing, fostering, and rehoming animals while advocating for responsible pet ownership and humane communities. For more information about Pedro Pet Pals visit: www.PedroPetPals.com

Time: 5 to 9 p.m., Nov. 1

Cost $60 and up

Details: https://tinyurl.com/Girls-In-Focus-PedroPet-Pals

Venue: San Pedro Elks Lodge, 1748 Cumbre Dr, San Pedro

 

$50 Million in Community Benefits Funding Actually Moving Ahead

 

Almost one year ago, on Oct 29, 2024, the Port of LA announced it had been awarded a $412 million grant from US.EPA for zero-emission transformation. Significantly, it said, “The grant will set a new standard for environmental stewardship in the maritime industry by directly funding an innovative, community-led $50 million ZE grant program in partnership with the Harbor Community Benefit Foundation, prioritizing investments that benefit frontline, disadvantaged areas.”

Now, after long delays, things appear to be moving forward. “The sub-agreement was signed with the ort earlier this month (Sept 9), so barring some change issued from EPA or the Trump Administration, the program is in effect and underway,” HCBF Board Chair Ed Avol told Random Lengths in late September. .

“HCBF had requested up-front funds from the Port in order to provide an operating fund as the Clean Ports Program launched, staff were hired, and critical elements of the overall program (community engagement, a zero-emissions grants program, and workforce development) were rolled out,” Avol explained. “POLA refused to do so, but offered two ‘work-arounds,’ The first is an effort to “quickly” reimburse submitted invoices,” which it has verbally promised to do much faster than their traditionally 45 days or more. “Regardless, we will begin submitting invoices shortly and will see how it all works,” Avol said.

The second work-around is for funds in excess of $50,000, which could be requested in advance. “We will also have to test this as we get into the details of the community-directed zero-emissions grants program, because most community partners or small organizations cannot easily ‘float’ large expenditures,” Avol said.

Regardless of these problems, “We are excited to begin the program and have hired a Clean Ports Program Coordinator to lead the effort as we gear up,” Avol said.

After their September board meeting, Avol added that the October board meeting would include a discussion round of community benefits funding—a clear sign that things really are moving forward, after all.

Ai Weiwei’s Turandot

When Opera Becomes a Canvas for Global Crises and Artistic Defiance

Everything is art. Everything is politics, — Ai Weiwei

The documentary Ai Weiwei’s Turandot illustrates the significance of art in our lives. Originally asked to direct Giacomo Pucinni’s longstanding and unfinished opera in 2017, renowned artist and activist Ai Weiwei realized an opportunity to revisit and complete a circle he began 33 years earlier, in 1987, as an extra in Franco Zeffirelli’s Turandot at the Metropolitan Opera House.

Ai Weiwei opened the film, saying he is not interested in opera and does not listen to music.

However, the artist “likes to do what he is not good at,” he noted his challenge was to find out if Pucinni’s vision still works in contemporary philosophy and art.

“My Turandot is going to be different,” said Ai Weiwei.

Ai Weiwei’s production of Giacomo Puccini’s Turandot showed in Rome from March 22 to 31, 2022, at the Teatro dell’Opera. The film recently screened at Laemmle’s Monica Film Center in Los Angeles.

Puccini, the great Italian composer, wrote La bohème, Tosca, Madame Butterfly, and Turandot – all are among today’s most performed operas. Each one features heartrending music at its center. His final opera, Turandot, which includes the great Nessun dorma, one of the most recognizable and beloved arias in the operatic repertoire, is one of the few 20th-century operas to have sustained a firm foothold in opera houses worldwide.

While his early work encompassed traditional, late-19th-century Romantic Italian opera, Puccini became better known for writing in the verismo style – Italian for realism. His works are known for their lush melodies, emotional intensity, and keen understanding of dramatic storytelling.

Turandot, written in three acts, is based on Carlo Gozzi’s play of the same name, which draws inspiration from the Persian collection of stories, One Thousand and One Nights. A Persian word, Turandot, means “the daughter of Turan” – a region of Central Asia which used to be part of the Persian Empire.

Ai Weiweis Turandot 3
Turandot the Emporor’s Daughter from Ai Weiwei’s Turandot. Photo courtesy of La Monte Productions

Set in ancient China, Puccini’s opera tells the story of a beautiful but cold-hearted Chinese princess, Turandot, who challenges her suitors with riddles. Suitors who fail to answer correctly will be executed. The narrative unfolds as an unknown prince, Calaf, takes up the challenge, risking his life for the chance to win Turandot’s love.

Ai Weiwei’s Turandot follows the artist’s journey as he aims to present the complex challenges that afflict humanity today: the Ukraine war, refugee crises, the COVID pandemic, and more. The film explores the lasting vitality of Puccini’s masterpiece while highlighting its deep connection to Ai Weiwei’s life and artistic vision.

An old family friend and collaborator of Ai Weiwei’s, Chian Ching, the opera’s choreographer, adds an intimate look into Ai Weiwei’s perspective and motivation. Ching also worked on the same 1987 Turandot production as her comrade. She explained that Ai Wetwei’s father, Ai Quing, was exiled for many years in Xinjiang because he was a revolutionary poet, and that the son relates a lot to his father’s spirit.

未未、江青在劇場樂池前交談

Ai Weiwei and his comrade and choreographer,Chian Ching Photo courtesy of La Monte Productions

Together, they provide an exploration of the intersection between art, politics, and the human experience.

In particular, the artist’s staging of Turandot is a social commentary displayed via artistic installation. As described by Andrea Miglio, the film’s set design supervisor, Ai Weiwei’s initial idea for the set alluded to a piece that he created 20 years earlier, an extrusion of the geographical map of China. For Turandot, the extrusion was multiplied to encompass the whole world, spreading it throughout the stage. In this installation, he organized where people stood on stage to emphasize the higher or lower class. The holes in this extrusion are often filled with poorer people, and the stairs, which are elevated, represent the oligarchs or the rich. It took 9 months to build this set, a job that would normally take 3 months. Ai Weiwei avoided “Chineseness” but rather made a global map of the stage, connecting to the artist’s bigger vision; it’s not a local issue, it’s a human race issue.

“Ai Weiwei is not a man of theater, but he was guided by the adaptation of ideas,” said Miglio.

Ai Weiwei explains the psychology behind the main character, Turandot (which I won’t mention, so as not to spoil), with an astute understanding of the human condition.

Tenor/Calaf (Michael Fabiano) said he knows Ai Weiwei as a free speech magnet.

“Calaf is a freedom fighter …. Winning Turandot means changing policy for the world, changing global ideas. If he can win Turandot, he changes idealism for the rest of the world. If he is able to conquer or compell a very important leader that freedom of ideas is going to bring more prosperity, then the rest of the world wins. And I think that’s what he’s fighting for.”

Ai Weiwei described Turandot as the perfect story about China; “both the fantasy about it and the beauty and crudeness; the imagination about China.”

Turandot Regia Di Ai Weiwei Ph Fabrizio Sansoni Teatro DellOpera Di Roma 2022 3909
Turandot regia di Ai Weiwei photo by Fabrizio Sansoni Teatro dell’Opera di Roma 2022.
Photo courtesy of La Monte Productions

The revolutionary artist and iconoclastic activist’s selection of this opera, once banned in China, aligns with his challenging of norms. The film follows Ai Weiwei as he infuses the opera with a contemporary perspective, bridging the past and the present. His incorporation of installation art, performance art, and conceptual art resulted in an original and immersive experience.

As an activist, AiWeiwei has been openly critical of the Chinese government’s stance on democracy and human rights. Noted in the film, Ai Weiwei investigated government corruption and cover-ups, in particular the Sichuan schools corruption scandal following the collapse of “tofu-dreg schools” in the 2008 Sichuan earthquake. In 2011, Ai Weiwei was arrested at Beijing Capital International Airport on April 3, for “economic crimes.” He was detained for 81 days without charges. Since that time, he emerged as an instigator in Chinese cultural development, an architect of Chinese modernism, and one of the nation’s most vocal political commentators. From architecture to installations, social media to documentaries, Ai Weiwei uses a wide range of platforms to share new ways for his audiences to examine society and its values.

In his director’s statement, Maxim Derevianko said when they started shooting in February 2020 he was trying to make a documentary about Ai Weiwei’s creative process with Puccini’s Turandot —but then something incredible happened.

“We started hearing about the Coronavirus that was slowly spreading, and suddenly the pandemic started. Theaters, cinemas, museums, and art in general were the first things to come to a standstill, and eventually close. As Ai Weiwei says in one of his interviews in the film: “Suddenly it is like you build a home, and it collapses.” For a moment, art loses all its meaning and its power; art and the artists are challenged about their existence. Through all this, the documentary evolved, and became not only about Ai Weiwei’s creative process, but also asked the questions, ‘What is art? and ‘Why do we need it?” The production was back two years later, and of course everything had a very different taste. Putting this opera on stage was not merely opening a curtain, and playing music for a few hours, it was delivering a message of love, of freedom of expression and finally for artists being fighters, activists and symbols of these values, like all of Ai Weiwei’s works.”

Watch Ai Weiwei’s Turandot on various platforms, including streaming services like MUBI, Fandango at Home, and Doc Edge Virtual Cinema, as well as through streaming for purchase or rental.

Letters to the Editor

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Shut Down

The government has shut down — and our national parks and public lands are paying the price. Republicans control the House, Senate, and White House, and their mismanagement has led us here, with regular Americans suffering the consequences. And now our parks, wildlife, and communities are caught in the middle.

From day one, Donald Trump has worked to dismantle the very protections that keep our air clean, our water safe, and our public lands protected. He gutted the Department of the Interior with layoffs and hiring freezes, leaving rangers and staff stretched thin. Now his gross mismanagement has forced a shutdown, and he’s making things worse by forcing the parks to stay open without the resources to operate safely.

Park superintendents warned Trump about the effects of a shutdown on public lands. They knew what was at stake. But Trump and his allies refused, right in the middle of peak visitation in some parks.

Here’s what’s happening right now:

Rangers and staff are stretched to the breaking point. Ongoing maintenance and non-essential visitor services are on hold.

Trash and infrastructure maintenance may pile up. Trails, restrooms, and facilities will be attended with skeleton crews, potentially creating hazards for visitors if the shutdown drags on.

Wildlife and ecosystems are vulnerable. Vital programs like habitat restoration, invasive species control, and wildfire prevention are on hold.

Local communities are impacted. While visitors can still come, nearby businesses face uncertainty and reduced services, and emergency response support is thin.

Operating parks without the necessary support and resources is dangerous for visitors, staff, wildlife, and the future of our public lands.

The Sierra Club and our allies are urging lawmakers to fully fund park operations and ensure the safety of people and land. But we need your voice and support to keep the pressure on.

 

Dr. Jane Goodall April 3, 1934 – October 1, 2025

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On October 1, Dr. Jane Goodall, founder of the Jane Goodall Institute, passed away at age 91 peacefully in her sleep while in Los Angeles, CA for her speaking tour in the United States.

In a statement the Jane Goodall Institute wrote:

Dr. Goodall’s life and work not only made an indelible mark on our understanding of chimpanzees and other species, but also of humankind and the environments we all share. She inspired curiosity, hope and compassion in countless people around the world, and paved the way for many others — particularly young people who gave her hope for the future.

In 1960 Dr. Goodall established the longest running wild chimpanzee study in Gombe National Park, Tanzania which continues to this day. She pioneered and sustained the Jane Goodall Institute’s community-centered conservation initiatives across the chimpanzee range for over four decades. Her legacy includes the creation of JGI’s international environmental and humanitarian youth program Roots & Shoots, which is actively driving change in 75 countries and counting around the world.

The Jane Goodall Institute is incredibly grateful to all our supporters, partners, and friends, especially during this difficult time. To add a personal remembrance of Dr. Goodall and continue her legacy for future generations, please visit JaneGoodall.org/RememberingJane

Dr. Jane Goodall was a British primatologist and anthropologist.

Regarded as a pioneer in primate ethology, she is best known for her more than six decades of field research on the social and family life of wild chimpanzees at Gombe Stream National Park in Tanzania.

Under his sponsorship beginning in 1960, Louis Leakey arranged for Goodall to study for a PhD in Ethology at Newnham College, Cambridge. Having witnessed Jane’s patience and determination, Leakey asked her to travel to Tanzania, to study families of wild chimpanzees in the forest of Gombe. In July, 1960, Jane arrived in Gombe. It was there that she developed her unique understanding of chimpanzee behaviour and made the ground-breaking discovery that chimpanzees use tools. An observation that has been credited with “redefining what it means to be human.”

Goodall’s doctoral thesis, The Behaviour of Free-living Chimpanzees in the Gombe Stream Reserve, was completed in 1965. Her three-month study evolved into an extraordinary research program lasting decades and it is still ongoing today.Goodall’s work challenged prevailing scientific views by showing that chimpanzees make and use tools, hunt cooperatively, and display complex emotions and social structures once thought unique to humans.

Looking back, Jane always said she’d have “studied any animal” but felt extremely lucky to have been given the chance to study man’s closest living relative in the wild.

She later founded the Jane Goodall Institute in 1977 to promote wildlife conservation, followed by the Roots & Shoots youth program in 1991, which grew into a global network. She also established sanctuaries and reforestation projects in Africa and campaigned for the ethical treatment of animals in research, farming, and captivity. Goodall was appointed a United Nations Messenger of Peace in 2002, advised organisations such as Save the Chimps and the Society for the Protection of Underground Networks.

In addition to her scientific research, Goodall published several memoirs and remained an active lecturer throughout her career, travelling extensively to promote conservation and climate action. Goodall was an honorary member of the World Future Council. Among other honors, she was the recipient of the Kyoto Prize, the Templeton Prize, and was awarded the U.S. Presidential Medal of Freedom in 2025. She was on the board of the Nonhuman Rights Project from 2022 until her death in 2025

CREDIT JGI Judy Goodall
A younger Jane Goodall. Photo credit JGI Judy Goodall.

San Pedro Connection

Dr. Jane Goodall made a significant appearance at the 2024 Day of Peace celebration at Point Fermin Park in San Pedro. She also participated in a tree-planting service project there in honor of her 90th birthday.

Previous appearances include the Warner Grand Theatre in 2013 and in 2017, when her appearance at the theater supported the Jane Goodall Institute and included a VIP reception.

Parallel Process Explores Lingering Wounds of Vietnam War at Odyssey Theatre

 

Holds Lessons for Iraq and Afghanistan U.S. War Veterans

A couple of weeks ago, producer Robert Altman, son of legendary MAS*H director Robert Altman, brought Parallel Process to the stage at the Odyssey Theatre.

In a recent interview, Altman recalled Fox Studios telling his dad they wouldn’t do a movie about Vietnam — explaining that it was too political.

“They said it had to be about the Korean War. But if you look at MAS*H closely, you’ll see that it’s really about Vietnam. Indeed, those same unflinching themes of war’s hidden costs and the bonds between soldiers are at the heart of Parallel Process,” Altman said.

The play is about two estranged brothers — Dennis, a respected clinical psychologist, and Bobby, a former district attorney — who are reunited decades after serving together in Vietnam. The brothers were drafted together and served in the same platoon, but one returned as an opponent of the war, and the other a die-hard militarist and defender of the U.S. slaughter.

The brothers face personal crises, a reckoning reflecting the unimaginable psychological wounds of killing humans fighting for their country’s self-determination. PTSD continues unabated, partially manageable but never-ending, well after the shooting stops. It is a personal crisis for them and thousands of other vets from the U.S. who are on never-ending adventures abroad (still today).

The U.S. war against the people of Vietnam ended 50 years ago with 1 million Vietnamese deaths, 60,000 U.S. soldiers killed, and tens of thousands more maimed from PTSD, Agent Orange (toxic defoliant), and the horrors of war for both sides.

As an anti-Vietnam War organizer, supporter of GIs’ constitutional right to speak out and march against the war (which they did in their thousands as well as refusing to fight in Vietnam itself), this performance was particularly intense.

The ongoing psychological and physical impact of this war carried out under Democratic and Republican administrations over two decades was brought to life in an unusual and exceptionally well-written play by David Kohner Zuckerman.

The conditions depicted in Parallel Process are reflected today in the development of the About Face organization of Iraqi and Afghani war veterans coming home and now organizing to support each other, fight U.S. military aid for Israel, the illegal use of the National Guard in U.S. cities’ streets violating human rights and aiding the horrendous, racist acts by ICE agents sent by President Trump, against the will of local elected officials and every city’s population.

The playwright draws authenticity from extensive conversations with Vietnam veterans, particularly executive producer Lt. Lewis Finocchio, whose observation that “every Vietnam veteran carries a secret” and acknowledgements from military historians and combat veterans describing it as “a gut punch of truth.” The after-play conversation with actors, producer, writer and veterans in the audience was a powerful ending to the evening’s revelations about the continuing psychological struggles of veterans from their foreign missions.

One veteran pointed out “That the Veterans Administration never gave a damn about us upon our return” (It took six years of fighting before vets were given treatment for Agent Orange, and the Vietnamese never got any medical assistance for 1 million there suffering the effects.) Another added, “We knew something was wrong, and it didn’t matter if we were sacrificed.”

In an interview with the periodical What the Butler Saw, writer Zuckerman had this to say:

Talking with veterans like Lewis was transformative. They were candid about the burden they’ve carried — not just the horrors witnessed, but the moral compromises they still wrestle with. Those conversations helped me understand that the ‘shared secret’ in our story isn’t just about what happened in Vietnam — it’s about what they’ve told themselves to survive. Perhaps the moral complexity comes from that gray area between what’s right, what’s necessary, and what you can live with.”

Performances are Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m., Sept. 19 through Oct. 26. Tickets are $39. The Odyssey Theatre is at 2055 S. Sepulveda Blvd., Los Angeles. For more information, visit https://tinyurl.com/Parallel-Process.

Taco Cheat Codes, Tricks of the Taco Trade

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By Ari LeVaux, Columnist

We shook hands to make it official. If my tacos were the best ever, as claimed, I would win the wager. Otherwise, victory went to my adversary. It was admittedly the most audacious of claims, the longest of long shots. Out of how many hundreds of Mexican restaurants and taco trucks? She took a bite and stared at me, her eyes smooth blend of “OMG,” “WTF” and “up your nose with a garden hose.”

If this confidence sounds like braggadocio, it wouldn’t be on my behalf. I did not invent that runny green sauce of cilantro, jalapeño, garlic and lime that you may have noticed at your local taco stand. I don’t know where it came from or even its name; the recipes online refer to it with the same list of ingredients. I also did not invent the trick that probably won me the wager, which I learned from a friend in California.

I did kind of invent the braised oxtails, spiced with thyme and succulent with red wine. They were leftovers from a non-Mexican meal, they were nonetheless stellar as a stand-in taco filler, the only true requirements of taco filling, as I understand it, being that it be delicious and savory, ideally with protein.

As for the tortilla trick, it feels like cheating. You heat the tortillas in a pan or griddle, and when they are piping hot on one side you flip them and add grated cheese to the piping hot sides now facing up. The cheese must be of a melty variety, such as a Mexican orange, or a northern cheddar, or manchego if you are from Spain, or blue cheese, if you partake.

When the cheese melts, turn off the heat, load the tacos and enjoy the best-ever-ness, or bask in the glory of serving them to others. The warm, cheesy treatment toughens the tortillas, making them less likely to fall apart if there is too much sauce on the tacos, as there frequently is.

Mayo Verde

It goes well on steak, eggs, salad, sandwiches, veggie side dishes, and basically anything savory. Or pour it into a glass, where it’s drinkable as a $20 bottle of wine. I call it Mayo Verde because it’s green and half mayo. We could also call it “game changer,” “performance enhancer,” or “food improver.”

The American Years: Guillaume Zuili’s Cinematic Vision of the West

 

The American Years is French-born photographer Guillaume Zuili’s love poem to Los Angeles and the desert landscape of Joshua Tree. The exhibition chronicles nearly 25 years of the artist honing his craft as both a black and white film photographer and master printer.

Zuili stated, in the announcement; “Film Noir has always been my matrix, because cinema is my matrix. Photography came later, but it all started with movies.”

Zuili came to Los Angeles when his then American wife wanted to move back here, to LA. He never wanted to move to LA, but Zuili called it amazing because suddenly he “was in a huge movie set.”

Zuili Mighty Shadow 30x40W 2
Mighty Shadow by Guillaume Zuili. Photo courtesy of PVAC.

It’s through his love of cinema, which stems from his childhood, that Zuili sees LA. He was profoundly influenced by the genre of film noir and has always seen photography in black and white. The photographer said he’s stuck in a time frame that he always looks for, from the 1940s to the 1970s; it’s what represents the U.S. the most.

Upon his arrival to LA at the end of 2001, Zuili worked with a press agency, which he still belongs to, doing many stories, portraits and assignments. Later, he worked as a correspondent for French magazines. The work eventually dried up around 2008 because of the state of the press when the big shift to digital happened. But another shift occurred for the photographer. Around 2006, after he had time to get a good grasp of Los Angeles, he developed his film noir series.

“The first few years I did nothing good. It started around 2006, when I found the right way to work with it, and after that it never ended. I found my way using [a] pin-hole [camera]. It erases detail and just gives you an idea.The key was to not show everything, to erase detail in a manner that when you see the image, you make the story. It was a tease.”

The pin-hole changed everything in Zuili’s journey because, at first, he had to resolve a lot of technical problems in order to make a good print, he explained. This is how he found lith printing, a process which enables him to achieve the high contrast and grainy shadows that make his Urban Jungle images so cinematic.

“It gave me amazing contrast, amazing blacks, and texture. The first time I saw those prints I couldn’t believe it. I fell in love. It changed my life as an artist because since 2006, I only do lith printing. It became my trademark. Suddenly it was not a photograph; it was more than that.”

He noted, taking the photo is not the most important part of what he does. Everything happens afterward, in the dark room where, Zuili said, he lives and can work whenever he wants. Developing his work takes a very long time. If he does four to five prints in a day he’s very happy.

Just as Zuili has a talent for encapsulating this city precisely in his urban scenes, he sculpts engrosing desert terrain masterfully, through his lens. In The American Years viewers will find familiar LA buildings, or surprises that Zuili, with a keen eye, captured at the exact right moment, such as his LAX (2005, printed 2024). The silver gelatin print displays practically all one needs — on the surface — in a consumerist’s Los Angeles; parking, rent-a-car, music and entertainment, satellite football, dine-in/take-out, pool and darts, cupping and shiatsu massage, all found squeezed together in a portion of one block. Then, in what must have been a split second, a plane suspended above the citified commodities comes in for landing at LAX. There is so much in this image, notably absent of any humans, only cars on the street and the landmark Capital Records building stands in the distance.

Zuili’s capturing of it is astonishing.

Zuili WindowsW
Windows by Guillaume Zuili. Photo courtesy of PVAC.

Windows presents a towering apartment building, double exposed in butter yellow. The edifice beckons the viewer through an upward gaze to multiple, vertical rows of casement windows, most of which are ajar, adding a surreal yet inviting sense to the structure. It’s another masterful work by Zuili that, through light and movement, invites the imagination to play.

The image is from an apartment building in Long Beach on the oceanfront. Zuili said he loves to do double exposure images.

With their warm sepia tones and minimal composition, the Joshua Tree series pays homage to classic American Westerns. Zuili was first drawn to Joshua Tree for his sanity when he was “freaking out in LA.”

I found peace there because it’s a magical place, he said. “Then I started taking pictures there, but it’s a very hard place to take pictures because the sense of scale is very difficult to render. It’s a tricky place. After lots of time, I tried many directions and found the right way for me. It’s a place that I love and I go there at least once a month, for me and for my photography.”

In several images from his Joshua Tree series, in a photographic trick, Zuili presents a juxtaposition, capturing a massive desert expanse, presented entirely within frame. To this observation the photographer divulged, “And some of those boulders are very small.”

He noted the light is very important, and so is the time that you shoot it.

“Photography is about composition, lights, timing and point of view … you find a spot, wait for the good light and you wait for the moment to shoot,” he said. “There is no mystery about that. So you need to take time and this is why you keep going back to the right place and one day you have everything in the picture. It’s about watching, all the time, what’s going on.”

In particular, Zuili’s When the Sun Goes Down #5 depicts at least three rock formations, two of which appear to be boulders, all nestled together. The remarkable detail is the natural sunlight Zuili captured on one side of the biggest rock, as though the sun had just risen over a desert horizon.

Zuili called the contrast of scenes between the urban landscape and Joshua Tree, the yin and the yang.

“It’s a good opposition and it represents the west, California. It’s very emblematic. I will always continue the urban and the desert landscapes but it may be elsewhere.”

Zuili said he is very happy he did this show and that he was approached to do it.

“I was very touched by the feedback I got because it was [from] Angelenos [who] are native, born in LA,” he said. “Usually, they are very blasé, so the fact that they loved the way I photographed LA, it was very important for me to get that feedback.”

When his creativity is there, Zuili noted, he does not stop. He becomes like a machine and goes into the dark room.

“It’s amazing [then] suddenly it stops and you don’t know why,” he said. “You are dry and it can be for a few months. Then I’m relieved because I’m so exhausted. Then suddenly I become very pissed off and I try but it doesn’t work. Then … it comes back. We all have these processes.”

It may be his stubbornness that keeps him working like a machine. In any case, he credits it as both a strength and weakness. On that note, he shared advice given to him, when asked, from a mentor; he told Zuili the best thing is to not listen to any advice.

“I followed that by the book. I do it my way. I don’t care if people like it or not. It’s not easy but I like it.”

The Palos Verdes Art Center will host an artist talk with Zuili from 1 to 3 p.m., Oct. 11.

Next, Zuili has an upcoming show at solo. Gallery in San Pedro, opening Oct. 18.

Guillaume Zuili: The American Years

Time: 9 a.m. to 5 p.m., Monday to Friday and Saturday 10 a.m. to 4 p.m.

Oct. 9 through Nov. 15

Cost: Free

Details: 310-541-2479; pvartcenter.org

Venue: Palos Verdes Art Center, 5504 Crestridge Road, Rancho Palos Verdes