Search Results for: Los Angeles Times

Understanding Craig Stecyk

Photos by Susanne Melanie Berry

Joe Donnelly | L.A. Man | Rare Bird Books | April 2018 | 42 minutes (8,454 words)

 

Decades ago, Craig R. Stecyk III tagged the walls near his seedy surf spot at Pacific Ocean Park, then a crumbling pier of abandoned rides and amusement parlors straddling the Venice and Santa Monica border. Among the graffiti were the terms POP and DOGTOWN running horizontally and vertically in a cross, a rat’s head in the skull’s position over crossbones, with the warning, “death to invaders.” At first, these markings were little more -than youthful insolence, meant to stake territorial claim for his band of surfers and skateboarders, many of whom were recently glorified in the documentary Dogtown and Z-Boys. In the ’70s and ’80s, though, through enterprises like Jeff Ho’s Zephyr Surf Shop, Dogtown Skates and Powell Peralta skateboarding company, these images would become among the first widely disseminated skateboarder graphic art; the first icons of a radical, street-savvy youth culture that reflected the attitudes of Stecyk and his Dogtown peers. Meanwhile, in magazines like Skateboarder and Thrasher, Stecyk’s photos and essays about the scofflaw Z-Boys skateboarding team created and spread the Dogtown myth to eager adolescents across the country.

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Can Coastal California Adapt to Climate Change?

AP Photo/Julie Jacobson

Climate change isn’t a future condition for many Californians. Right now, coastal residents sweep water from their garages. San Francisco tourists slosh through seawater at the Embarcadero. Condemned houses perch above crumbling cliffs in Pacifica, and a solitary sidewalk runs past the space where apartments once stood. So what will the most populous state in the U.S. do to protect the communities, train tracks, and roads that line its coast? For The Los Angeles Times, journalist Rosanna Xia goes deep into this enormous, developing crisis, mapping specific points from Del Mar to Pacifica to understand what’s at stake, and to listen to residents debate what to do. People talk about building bigger seawalls and building beaches with new sand, but each strategy has its limitations and undesirable consequences.

Then there’s what scientists and economists and number-crunching consultants call “managed retreat”: Move back, relocate, essentially cede the land to nature. These words alone have roiled the few cities bold enough to utter them. Mayors have been ousted, planning documents rewritten, campaigns waged over the very thought of turning prime real estate back into dunes and beaches.

Retreat is as un-American as it gets, neighborhood groups declared. To win, California must defend.

But at what cost? Should California become one long wall of concrete against the ocean? Will there still be sandy beaches or surf breaks to cherish in the future, oceanfront homes left to dream about? More than $150 billion in property could be at risk of flooding by 2100 — the economic damage far more devastating than the state’s worst earthquakes and wildfires. Salt marshes, home to shorebirds and endangered species, face extinction. In Southern California alone, two-thirds of beaches could vanish.

The state has both no time and too much time to act, spiraling into paralyzing battles over the why, who, when and how. It’s not too late for Californians to lead the way and plan ahead for sea level rise, experts say, if only there is the will to accept the bigger picture.

Returning after mudslides and wildfire. Rebuilding in flood zones. The human urge to outmatch nature is age-old. We scoff at the fabled frog that boiled to death in a pot of slowly warming water — but refuse to confront the reality of the sea as it pushes deeper into our cities.

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The Top 5 Longreads of the Week

Frederic J. Brown / AFP / Getty Images

This week, we’re sharing stories from Gabriel Thompson, Tim Murphy, Deborah Netburn, Tove Danovich, and Sirin Kale.

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Protecting the Unicorns Beneath the Sea: The Secret Seahorse Colony of Long Beach

A Pacific seahorse in a red gorgonian sea fan. Getty Images.

Every five days for the past three years, Rog Hanson has driven two hours in the middle of the night to visit his colony of four Pacific seahorses, dubbed Bathsheba, Deep Blue, Daphne, and CD Street. As Deborah Netburn reports at the Los Angeles Times, the colony’s location in the waters off Long Beach, California is a guarded secret. Together, he and fellow seahorse enthusiast Ashley Arnold have spent hours upon hours under the sea observing and documenting the colony’s behavior and sharing what they learn with scientists. For him, it’s a calling he was drawn to after a close, very personal encounter with a whale; for her, diving is a way to do good and help manage the PTSD she has as a result of her military service.

If you get Hanson talking about his seahorses, he’ll tell you exactly how many times he’s seen them (997), who is dating whom, and describe their personalities with intimate familiarity. Bathsheba is stoic, Daphne a runner. Deep Blue is chill.

Hanson makes careful notes after all his dives in a colorful handmade log book he stores in a three-ring binder. On this Wednesday he dutifully records the water temperature (62 degrees), the length of the dive (58 minutes), the greatest depth (15 feet) and visibility (3 feet), as well as the precise location of each seahorse. His notes also include phase of the moon, the tidal currents and the strength of the UV rays.

“Scientists will tell you that sunlight is an important statistic to keep down,” he says.

He has given each of his four seahorses a unique logo that he draws with markers in his log book. Bathsheba’s is a purple star outlined in red, Daphne’s is a brown striped star in a yellow circle.

Now, Arnold and her boyfriend, Jake Fitzgerald, check in on the seahorses about once a week and help Roger rebuild the city he created for them.

“We call them our kids because we love them so much,” Arnold says.

Hanson and Arnold are very protective of their seahorse family. They tell visitors to remove GPS tags from their photos. They swear them to secrecy.

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Live Through This: Courtney Love at 55

Mick Hudson / Getty, istock / Getty Images Plus, Michael Ochs Archive / Getty, Vinnie Zuffante / Getty, pidjoe / Getty, Illustration by Homestead

Lisa Whittington-Hill | Longreads | July 9th, 2019 | 24 minutes (6,539 words)

It’s hard to tell whether Thurston Moore is being sarcastic or sincere. It’s probably a bit of both. “The biggest star in this room is Courtney Love,” says the Sonic Youth singer and guitarist in a scene from 1991: The Year Punk Broke. The documentary follows Sonic Youth’s summer 1991 European tour and features performances and backstage antics from their tourmates, including a pre-Nevermind Nirvana, Babes in Toyland, and Dinosaur Jr.

Moore comments during an interview with 120 Minutes, an MTV program that spotlighted alternative music in the days before the music channel became the home of teen moms and spoiled Laguna Beach brats. As Moore declares his love of English food to the host — most definitely sarcasm — Love is behind him trying to get the camera’s attention. She waves and appears to stand on something to make herself taller. Her efforts pay off and soon she is in front of the host, all brazen, blond, and sporting blue baby doll barrettes.

Tongue-in-cheek or not, Moore was right. Love’s band Hole wasn’t on the European tour bill that summer and their debut album Pretty on the Inside hadn’t even been released yet, but Love was already on MTV.

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‘They Happen To Be Our Neighbors Across the Span of a Century, But They’re Our Neighbors.’

White children celebrating after having raided the home of African Americans during the race riots, Chicago, 1919. Jun Fujita / Chicago History Museum / Getty Images

Adam Morgan | Longreads | June 2019 | 10 minutes (2,587 words)

 

Precisely one hundred summers ago, at least 165 people were killed in “race riots” against black Americans in cities ranging from Washington, D.C. to Bisbee, Arizona. The bloodiest conflict of that “Red Summer” unfolded on the South Side of Chicago between July 27 and August 3. It started at the 29th Street Beach, where a white man threw rocks at black swimmers and killed a 17-year-old boy named Eugene Williams. Over the next few days, 38 people were killed and more than 500 were injured as roving gangs of white men terrorized Chicago’s Black Belt.

“Chicagoans tend to be enthusiastic and vocal discussants of our own history,” Eve Ewing writes in the introduction to 1919, her second book of poetry. “But 1919 didn’t seem to make it into the timeline alongside titanic stories about Fort Dearborn, Jean-Baptiste Point du Sable, the World’s Columbian Exposition, the 1968 riots, Richard J. Daley, or Harold Washington.”

So Ewing — the poet of Electric Arches, the scholar of Ghosts in the Schoolyard, the comic book writer of Marvel’s Ironheart, the playwright of No Blue Memories, and arguably the most powerful cultural voice in Chicago over the past five years — set about telling the story of 1919 in a characteristically clever way. Flecked with historical photos and evocative quotes from a post-riot commission report, filled with biblical and mythological references, seamlessly bending time and genre, 1919 is an unforgettable conversation-starter. Every poem leaves a bruise. Read more…

William S. Burroughs and the Cult of Rock ‘n’ Roll

Paul Natkin/WireImage

Casey Rae | William S. Burroughs and the Cult of Rock ‘n’ Roll | University of Texas Press | June 2019 | 28 minutes (4,637 words)

 

Naked Lunch is inseparable from its author William S. Burroughs, which tends to happen with certain major works. The book may be the only Burroughs title many literature buffs can name. In terms of name recognition, Naked Lunch is a bit like Miles Davis’ Kind of Blue, which also arrived in 1959. Radical for its time, Kind of Blue now sounds quaint, though it is undeniably a masterwork.

Burroughs wrote the bulk of his famous novel Naked Lunch in Tan­gier, Morocco between 1954 and 1957. During those years, Burroughs was strung out and unhappy, living off of his parents’ allowance and getting deeper and deeper into addiction. He had friends but rarely saw them, preferring to spend days at a time staring at his shoes while ensorcelled in a narcotic haze.

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The Top 5 Longreads of the Week

A U.S. soldier looks towards the military prison known as 'Gitmo.' (Photo by John Moore/Getty Images)

This week, we’re sharing stories from Ben Taub, Paige Blankenbuehler, Alex Horton, Victoria Gannon, and Gustavo Arellano.

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The 2019 Pulitzer Prize Winners

Part of Reuters' Pulitzer-winning series for Breaking News Photography. Mateo, a two-year-old migrant boy from Honduras, is led through dense brush by his mother Juana Maria after a group of two dozen families members illegally crossed the Rio Grande river into the United States from Mexico, in Fronton, Texas October 18, 2018. REUTERS/Adrees Latif

The winners of the Pulitzer Prize have been announced and recipients include The Los Angeles Times’ investigation into George Tyndall, a former USC gynecologist accused of sexually abusing students, the Pittsburgh Post-Gazette’s breaking news coverage of the massacre at the Tree of Life synagogue, and Hannah Dreier, who won for feature writing for her powerful series at ProPublica following Salvadoran immigrants “whose lives were shattered by a botched federal crackdown on the international criminal gang MS-13.”

The full list of the Pulitzer recipients can be found here, and we’ve highlighted some of the winners and honored works below. Read more…

‘I’m Always Writing Against This Idea That Denver’s a White Space.’

Adam Morgan | Longreads | April 2019 | 9 minutes (2,462 words)

 

There’s a section in Robert Bolaño’s 2666 — “The Part About the Crimes” — where women are raped and murdered for nearly 300 pages, their mutilated bodies abandoned in the deserts of northern Mexico. The violence is brutal enough to seem gratuitous, even sadistic, but Bolaño was merely fictionalizing the real-life female homicides of Ciudad Juárez, just across the border from El Paso, Texas. And while 2666 circles these murders like a vulture, the women themselves barely get a chance to speak.

The women in Kali Fajardo-Anstine’s debut collection of short stories, Sabrina & Corina — Chicana and Indigenous women living in Denver and southern Colorado — suffer similar fates. But we meet their sisters, mothers, and daughters. We meet the men who abuse them. And finally, we hear their voices.

In the title story, a teenaged cosmetology student is tasked with applying her murdered cousin’s funeral makeup. In “Sisters”, a double date leaves one sibling blind. In “Cheesman Park”, a bank teller flees Los Angeles for Denver after she and her mother are attacked, separately, by the men who claim to love them. And in “Any Further West,” a sex worker and her daughter travel in the opposite direction in search of a better life.

Sabrina & Corina is a moving, textured, masterful collection, saturated with a strong sense of place. I spoke with Kali Fajardo-Anstine about her book, the cycles of violence, and the gentrification of her hometown’s Chicano and Indigenous communities. Read more…