81
TRASH
Victor J. Jones
Certain works of art and architecture can be considered trash,
but when is trash art? Spolia and Arte Povera are two exam-
ples at either end of the historical spectrum where refuse is
transfigured into art. Constantine’s triumphal arch in Rome
uses reclaimed sculptural elements from previous buildings.
Luciano Fabro composed sculptures from commonplace
materials and used wares to create works such as Pavimento
(Tautologia). Whether from the spoils of war during Roman
antiquity or resistance to modernism and technology in Italy
during the 1960s, their practices crafted cultural relevance
from discarded matter.
In line with these instances is assemblage art, which has
had a hand in shaping art and architecture in Los Angeles
for almost a century. This essay travels into Watts, moving past
the familiar path of violence in this legendary part of Los
Angeles to revisit experiments with trash that began there in
the 1920s. The story reveals how today a grassroots nonprofit
arts organization, its director, and a handful of architects,
artists, and neighborhood residents are working together to
refurbish a row of dilapidated houses along East 107th Street.
Their collective efforts and participative production weave
art and architecture from detritus and the everyday to build
and sustain an alternative vision for this underserved commu-
nity. The trail of unexpected combinations and juxtapositions
begins at the end of a narrow street under a monument made
of rubbish—the Watts Towers.
While visiting Los Angeles for the first time (to attend the
opening of his 1963 Elvis exhibition at Ferus Gallery), Andy
Warhol bought a sixteen-millimeter sync-sound Bolex camera
and shot his partially improvised riff on the Hollywood
adventures of Tarzan.1 In Tarzan and Jane, Regained, Sort of…,
a free-spirited cast of artists and actors roams the tangled
web of freeways and unlikely destinations that replace the wil-
derness of a jungle. The Beverly Hills Hotel swimming pool
substitutes for a lagoon and the Watts Towers stand in for trees,
1 The purchase of the Swiss black box marked the beginning of a five-year
period during which Warhol directed and produced over sixty experimental
films. For more information about the films of Andy Warhol, consult Andy
Warhol’s Blow Job, by Roy Grundmann, and The Black Hole of the Camera:
The Films of Andy Warhol, by J.J. Murphy.
82
vines, and low-lying flora. Midway through the film, Tarzan rests
with a dog under one of the smaller structures of the Watts
Towers. The narrator whispers, “Jane has been changed into
a dog by the forces of evil.”
Ominous forces are not alien to Watts. The politics that
define and shape the place are murky. Infamously dark
tales of corruption, dubious business deals, discriminatory
policies, and corrosive public services have transformed
the once placid 220-acres of alfalfa fields and livestock farms
from a thriving mu.
The Chicago Renaissance turn of 20th c.-1960s(ish)a ga.docxmamanda2
The Chicago Renaissance: turn of 20th c.-1960s(ish)
“a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced”
http://www.encyclopedia.chicagohistory.org/pages/257.html
*
Chicago in the 1890s—Setting the Stage for the Renaissance
*
Historical significance of the World's Columbian Exposition
The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time.
The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power.
http://columbus.gl.iit.edu/index.html
*
"The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition)
*
The Chicago Defender, 1905
The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago.
As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“
During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925.
*
,
Richard Wright, born 1908
Native Son, 1940
Black Boy, 1945
*
Harriet Monroe and Poetry, 1912
The word "Imagiste" a.
FTS E-MAIL [email protected] To [email protected]Record.docxbudbarber38650
FTS E-MAIL <[email protected]>
To: [email protected]
Record 3 of 4
10-14 11:48AM, T#:801
Patron Name: Ho, Tienfong Lib ID#: u 915089328
Patron#: p12947027 Spec Inst.: Journal Article Request
Telephone#: 610-613-2071 Home Lib: Paley Library
Address: 721 Coventry Lane, Phoenixville, PA 19460
BIB#: bl5776153 Pickup Loe: k
TITLE: Art in America; an illustrated magazine.
SELECTED:
Library Depository
ARTICLE: Hess, Elizabeth. A Tale of Two Memorials. v.71
(Apr. 1983), p.120-27.
Nl .A47 v.71(Jan-May1983)
Tue, Oct 14, 2014 at 12:28 PM
erica
; /
Cover: Fri with Monkeys," 1943
Vietnam War Memorial/Louise Bourgeois/Neil Welliver/Morton Scharnberg
Tina Modotti & Frida Kahlo/Robert Longo/Larry Bell in Santa Fe/Josef Hoffmann
Report from Paris: Photography Month/Books/Review of Exhibitions
Artin • er1ca
APRIL 1983
·-----·----------·
A Tale of Two Memorials Elizabeth Hess 120
The history of the newly unveiled Vietnam Veterans Memorial is chronicled in the context of the intense controversy it has generated.
Louise Bourgeois: Gender & Possession Robert Storr 128
A traveling retrospective surveys Bourgeois's long career as avant-gardist and iconoclast.
Terrestrial Truth: Neil Welliver
Welliver' s special brand of painterly literalism presents a nature that outdoes art.
Dona.Id B. Kuspit 138
The Art of Spectacle Hal Foster 144
Robert Longo deploys public images and slick surfaces in seductive simulations of reality.
Carrie Rickey 150 Six-Sided Constructions
Larry Bell's '60s work, permutations on the theme of the cube, are given a then-and-now reading.
Venus and the Stocking Machines Julia Ballerini 154
The first Morton Scharnberg show in 20 years suggests a fresh interpretation of the early 20th-century ''machinist esthetic.''
The Ribbon around the Bomb Michael Newman 160
The politjcally sensitive and strongly feminist works of Frida Kahlo and Tina Modotti are juxtaposed in a current exhibition.
RethinkingJosef Hoffinann
A recent museum show emphasized the formal beauty ofHoffrnann's designs.
DEPARTMENTS
Rejoinder:
Tired Criticism,
Tired "Radicalism" Donald B. Kuspit 11
Review of Books 19
Report from Paris:
Photo-Fever on the
Seine AllenEllenzweig 35
REVIEW OF EXHIBITIONS
New York, Seattle,
Los Angeles, Baltimore,
Fort Worth
Artworld
177
224
Editor: Elizabeth C. Baker
MarciaE. Vetrocq 170
Cover: Detail of Frida Kahlo's Self-Portrait with Monkeys
(entire work at left), 1943, oil on canvas, 32 by 24¥.. inches
(collection Mr. and Mrs. Jacques Gelman, Mexico City).
The painting appears in the exhibition "Frida Kahlo and
Tina Modotti" at New York U Diversity's Grey Art Gallery,
through April 16. Photo Robert E. Mates.
Managing Editor: Joan Simon/ Executive Editor: Nancy Manner I Senior Editors: Ted Mooney, Craig Owens I Associate Editors: Prudence Carlson, Hal Foster I Assistant Managing
Editor: Kathryn Howarth/ Assistant Editor: Robert Fisher/ Designer: Alberto P. Gava.
The Chicago Renaissance turn of 20th c.-1960s(ish)a ga.docxmamanda2
The Chicago Renaissance: turn of 20th c.-1960s(ish)
“a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced”
http://www.encyclopedia.chicagohistory.org/pages/257.html
*
Chicago in the 1890s—Setting the Stage for the Renaissance
*
Historical significance of the World's Columbian Exposition
The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time.
The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power.
http://columbus.gl.iit.edu/index.html
*
"The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition)
*
The Chicago Defender, 1905
The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago.
As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“
During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925.
*
,
Richard Wright, born 1908
Native Son, 1940
Black Boy, 1945
*
Harriet Monroe and Poetry, 1912
The word "Imagiste" a.
FTS E-MAIL [email protected] To [email protected]Record.docxbudbarber38650
FTS E-MAIL <[email protected]>
To: [email protected]
Record 3 of 4
10-14 11:48AM, T#:801
Patron Name: Ho, Tienfong Lib ID#: u 915089328
Patron#: p12947027 Spec Inst.: Journal Article Request
Telephone#: 610-613-2071 Home Lib: Paley Library
Address: 721 Coventry Lane, Phoenixville, PA 19460
BIB#: bl5776153 Pickup Loe: k
TITLE: Art in America; an illustrated magazine.
SELECTED:
Library Depository
ARTICLE: Hess, Elizabeth. A Tale of Two Memorials. v.71
(Apr. 1983), p.120-27.
Nl .A47 v.71(Jan-May1983)
Tue, Oct 14, 2014 at 12:28 PM
erica
; /
Cover: Fri with Monkeys," 1943
Vietnam War Memorial/Louise Bourgeois/Neil Welliver/Morton Scharnberg
Tina Modotti & Frida Kahlo/Robert Longo/Larry Bell in Santa Fe/Josef Hoffmann
Report from Paris: Photography Month/Books/Review of Exhibitions
Artin • er1ca
APRIL 1983
·-----·----------·
A Tale of Two Memorials Elizabeth Hess 120
The history of the newly unveiled Vietnam Veterans Memorial is chronicled in the context of the intense controversy it has generated.
Louise Bourgeois: Gender & Possession Robert Storr 128
A traveling retrospective surveys Bourgeois's long career as avant-gardist and iconoclast.
Terrestrial Truth: Neil Welliver
Welliver' s special brand of painterly literalism presents a nature that outdoes art.
Dona.Id B. Kuspit 138
The Art of Spectacle Hal Foster 144
Robert Longo deploys public images and slick surfaces in seductive simulations of reality.
Carrie Rickey 150 Six-Sided Constructions
Larry Bell's '60s work, permutations on the theme of the cube, are given a then-and-now reading.
Venus and the Stocking Machines Julia Ballerini 154
The first Morton Scharnberg show in 20 years suggests a fresh interpretation of the early 20th-century ''machinist esthetic.''
The Ribbon around the Bomb Michael Newman 160
The politjcally sensitive and strongly feminist works of Frida Kahlo and Tina Modotti are juxtaposed in a current exhibition.
RethinkingJosef Hoffinann
A recent museum show emphasized the formal beauty ofHoffrnann's designs.
DEPARTMENTS
Rejoinder:
Tired Criticism,
Tired "Radicalism" Donald B. Kuspit 11
Review of Books 19
Report from Paris:
Photo-Fever on the
Seine AllenEllenzweig 35
REVIEW OF EXHIBITIONS
New York, Seattle,
Los Angeles, Baltimore,
Fort Worth
Artworld
177
224
Editor: Elizabeth C. Baker
MarciaE. Vetrocq 170
Cover: Detail of Frida Kahlo's Self-Portrait with Monkeys
(entire work at left), 1943, oil on canvas, 32 by 24¥.. inches
(collection Mr. and Mrs. Jacques Gelman, Mexico City).
The painting appears in the exhibition "Frida Kahlo and
Tina Modotti" at New York U Diversity's Grey Art Gallery,
through April 16. Photo Robert E. Mates.
Managing Editor: Joan Simon/ Executive Editor: Nancy Manner I Senior Editors: Ted Mooney, Craig Owens I Associate Editors: Prudence Carlson, Hal Foster I Assistant Managing
Editor: Kathryn Howarth/ Assistant Editor: Robert Fisher/ Designer: Alberto P. Gava.
Overview of the History of Gay Theatre in America It s.docxkarlhennesey
Overview of the History of Gay Theatre in America
It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.”
EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson.
Pansy Craze: By the end of the 1920s much of the public image of gay people was still limited to the various drag balls in Greenwich Village and in Harlem, but the early 1930s saw a new development within a highly commercial context, bringing the gay subculture of the enclaves of Greenwich Village and Harlem onto the mainstream stages of midtown Manhattan in a veritable Pansy Craze from 1930 until the repeal of prohibition in 1933.
Hay’s Code: After the repeal of prohibition, this tolerance waned. Any sympathetic portrayal of gay characters (termed sexual perverts) was prohibited by the Motion Picture Production Code (or Hays Code) from being included in Hollywood films. Performer Ray Bourbon was arrested many times for his act, considered tame by today's standards.
It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.”
EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson.
At the height of the Pansy Craze in the late 1920s, Mae West penned The Drag, a “social problem” play that argued for sympathetic treatment of homosexuals. However, after out-of-town tryout runs, the play received a scandalous reception. Never making it to the Great White Way, The Drag was censored, and West was arrested. Draconian measures from City Hall, including the passage of New York City’s 1927 “padlock bill,” prohibited homosexual subject matter on the Broadway stage. A few years later, the Hays Code of 1934 banned images of homosexuality on the Hollywood screen. Consequently, censorship of gay themes in theater and film was the norm in the U.S. from the 1930s through the 1960s.
Expanding on the concept of the coffeehouse as a forum for beatnik poetry readings, Joe Cino opened his small Cornelia Street café in 1958 with the intention of creating a space where theater artists could develop their individual voices and form a community. The Caffe Cino’s locale rendered it out-of-the-way enough to feel like a private sanctuary and accessible enough for urban audiences ...
Lecture in KKP002: Imagining the Creative Future - one of a series of 'thought world' or 'paradigm' lectures designed to problematise a contemporary 'creative industries' practice.
1 Chicana Expression—Later 20th Century Public AVannaJoy20
1
Chicana Expression—Later 20th Century
Public Art and the Public Interest1 [Since the 1960s, a number of artists have engaged in
debates] over the nature of public space and the art that is to be placed within this space. In the
past in the United States, public art works often functioned as representations of civic virtues
meant to instill valuable moral lessons. They were also intended to mark the common values of a
diverse community and nation: heroic military efforts in defense of one’s country or one’s
freedoms, respect for the laws of the land. The 1960s changed all that. As people began to march
for civil rights and against the involvement of the United States in the war in Vietnam, many
began to look at public art and ask: “Whose values are being represented? Whose traditions and
beliefs? To whom are these works supposed to speak?” Certainly artists in the 1930s had created
images of working-class Americans in government buildings throughout the country, but those
murals omitted much—the racism directed at African Americans, Native Americans, Latinos and
Asian Americans, the struggles to unionize, the labor of women outside the home. Calls were
issued for a new kind of public art, one that was truly, in the words of the art historian Arlene
Raven, “in the public interest.”
Walls of Pride: Chicano/a Murals These calls were met most effectively by a new generation
of muralists, who began covering walls throughout the country with images of local history or of
the less celebratory side of national history. These artists argued that a public art could only be
truly public if those who shared space with it were consulted about its ultimate form and use. In
California in particular, a new and dynamic movement evolved that took inspiration from both the
murals of Mexico and the struggles of farm workers in the United States, led by Cesar Chavez
and Luisa Moreno, to unionize under the United Farm Workers of America (UFW).
The growing political activism of individuals of Mexican descent around this unionization drive, which
ultimately grew into a full-blown civil rights movement, led to the adoption by many of the name Chicano,
derived from Mexicano. While it had circulated as an informal term for several decades within
communities whose members described themselves as Mexican Americans, it was now used publicly
as a form of positive self-identification, indicative of a new political consciousness and a commitment
to social change. One of the first Chicano murals was produced in 1968 by Antonio Bernal on the side of
the UFW Center in Del Ray, California. The piece celebrates modern revolutionary leaders, including
Pancho Villa, and Emiliano Zapata (key figures in the Mexican Revolution of 1910-20), Cesar Chavez, ,
Malcolm X, and Martin Luther King. A companion piece depicted Pre-Columbian leaders.
Chicana Muralist Judith Baca and The Great Wall of Los An ...
Introduction to Art Chapter 27 Eighteenth and Nineteenth CenTatianaMajor22
Introduction to Art Chapter 27: Eighteenth and Nineteenth Centuries 357
Chapter 27: Eighteenth and Nineteenth
Centuries
The Asante Kingdom of West Africa
The Asante kingdom, part of the larger Akan culture was formed around 1700 under the
leadership of Osei Tutu. Osei Tutu brought together a confederation of states that had grown
wealthy and powerful as a result of the area’s lucrative trade in gold, sold to both northern
merchants across the Sahara and European navigators. The centralized system of government
that emerged was a complex network of chiefs and court officials under a single paramount
leader. A variety of gold regalia was used to distinguish rank and position within the court.
Among the Asante (or Ashanti), a popular legend relates how two young men—Ota Karaban and
his friend Kwaku Ameyaw—learned the art of weaving by observing a spider weaving its web.
One night, the two went out into the forest to check their traps, and they were amazed by a
beautiful spider’s web whose many unique designs sparkled in the moonlight. The spider, named
Ananse, offered to show the men how to weave such designs in exchange for a few favors. After
completing the favors and learning how to weave the designs with a single thread, the men
returned home to Bonwire (the town in the Asante region of Ghana where kente weaving
originated), and their discovery was soon reported to Asantehene Osei Tutu. The asantehene
(title of the Asante monarch) adopted their creation, named kente, as a royal cloth reserved for
special occasions, and Bonwire became the leading kente weaving center for the asantehene
and his court.
Asantehene Osei Tutu II wearing kente cloth, 2005 (photo: Retlaw Snellac, CC BY 2.0)
https://flic.kr/p/AQ7df
Introduction to Art Chapter 27: Eighteenth and Nineteenth Centuries 358
Originally, the use of kente was reserved for Asante royalty and limited to special social and
sacred functions. Even as production has increased and kente has become more accessible to
those outside the royal court, it continues to be associated with wealth, high social status, and
cultural sophistication. Kente is also found in Asante shrines to the deities, or abosom, as a mark
of their spiritual power.
Patterns each have a name, as does each cloth in its entirety. Names can be inspired by
historical events, proverbs, philosophical concepts, oral literature, moral values, human and
animal behavior, individual achievements, or even individuals in pop culture. In the past, when
purchasing a cloth, the aesthetic and social appeal of the cloth’s was as important as—or
sometimes even more important than—its visual pattern or color.
The King has Boarded the Ship (Asante kente cloth), c. 1985, rayon (collection of Dr. Courtnay Micots)
This cloth is named The King Has Boarded the Ship, and it includes both warp and weft patterns.
The warp pattern, consisting of two multicolor stripes on blue, relates to the prover ...
After my lecture for the International Conference for Curators of Contemporary Art (IKT) in Siena in 2001, I was invited by the Vestjaellands Kunstmuseum in Denmark to write an essay in the framework of "Industry of Vision" a project and exhibition that addressed and questioned historical and contemporary Utopias and Heterotopias.
Dr David Hopkins is Senior Lecturer in Art History at the
University of Glasgow, where his broad areas of specialism are
Dada and Surrealism, the history and theory of post-1945 art, and
twentieth-century photography. He has published extensively on
Dada and Surrealism and related topics in post-war art. His
publications include Marcel Duchamp and Max Ernst: the Bride
Shared (Oxford University Press, Clarendon Studies in the History
of Art, 1998) and Marcel'Duchamp (London, 1999), co-authored
with Dawn Ades and Neil Cox. He has recently curated an
exhibition of photographs by Weegee at the Stills Gallery,
Edinburgh. He also writes and performs poetry, often in
collaboration with other performers and visual artists.
For this Portfolio Project, you will write a paper about John A.docxevonnehoggarth79783
For this Portfolio Project, you will write a paper about "John Adams" as well as any event in U.S. history that is relevant to your major area of study or of interest to you. You will write about John Adams from the perspective of another historical personality who lived at the same time as the person or event you are going to describe.
For your historical personality, try to select someone from an under-represented population (examples of possible perspectives include that of Anne Hutchinson, Pocahontas, or Sojourner Truth). This analysis is to make you think about how events/people’s actions were interpreted at the time.
Key Points::
Remember that you will be writing from the perspective of a historical person about another person or an event from a period of U.S. history up to Reconstruction. From your historical person’s perspective, provide a thorough summary of the person or event you’ve chosen to write about, including the incidents that took place and any key individuals involved or affected.
Address the general importance of the person or event in the context of U.S. history.
Now, explain specifically how the person or event changed “your” daily life—“you” being the historical persona you have adopted.
Think long-term: How will the person or the event you are describing make a long-term impact in the lives of people who are in the under-represented group to which your historical person/perspective belongs?
Paper Requirements:
Your paper must be four to six pages, not including the required references and title pages.
Use at least five sources, not including the textbook. Include a scholarly journal article. Include at least one
primary
source from those identified in the syllabus.
Definition of a Primary Source
: A primary source is any source, document or artifact that was created at the time of the event. It was usually created by someone who witnessed the event, lived during or even shortly afterwards, or somehow would have first-hand knowledge of that event. A secondary source, by contrast, is written by a historian or someone writing about the event after it happened.
Have an introduction and strong thesis statement. Make use of support and examples supporting your thesis
Finish with a forceful conclusion reiterating your main idea.
Format your paper according to the
CSU-Global Guide to Writing and APA Requirements
(Links to an external site.)
.
.
For this portfolio assignment, you are required to research and anal.docxevonnehoggarth79783
For this portfolio assignment, you are required to research and analyze a TV program that ran between 1955 and 1965.
To successfully complete this essay, you will need to answer the following questions:
What is the background of this show? Explain what years it was on TV, describe the channel it aired on, the main characters, setting, etc..
What social issues and historical events were taking place at the time the show was being broadcast?
Did these issues affect the television show in any way?
Did the television show make an impact on popular culture?
Your thesis for the essay should attempt to answer this question:
Explain the cultural relevance of the show, given the information gathered from the show's background, and cultural history. How can television act as a reflection of the social, political, and cultural current events?
.
For this paper, discuss the similarities and differences of the .docxevonnehoggarth79783
For this paper, discuss the similarities and differences of the impacts of the causes of the 2008 Great Recession and the current world crisis with the CoVID-19 virus*
How did the regulations you've studied over the past few chapters and in the Financial Crisis Chapter (Chapter 12) prepare banks and other financial institutions to better weather the effects of the stay-at-home orders and other impacts of the pandemic? Are there other regulations that could be placed on the banking industry that would make sense and help them through these trying times?
*Note: I am not trying to downplay or minimize in any way the "human" impact or any other non-economic impacts of the virus; this paper is just focusing on one component of the costs, among the many different impacts (perhaps much more important impacts)
4 pages 4 resources
.
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Overview of the History of Gay Theatre in America It s.docxkarlhennesey
Overview of the History of Gay Theatre in America
It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.”
EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson.
Pansy Craze: By the end of the 1920s much of the public image of gay people was still limited to the various drag balls in Greenwich Village and in Harlem, but the early 1930s saw a new development within a highly commercial context, bringing the gay subculture of the enclaves of Greenwich Village and Harlem onto the mainstream stages of midtown Manhattan in a veritable Pansy Craze from 1930 until the repeal of prohibition in 1933.
Hay’s Code: After the repeal of prohibition, this tolerance waned. Any sympathetic portrayal of gay characters (termed sexual perverts) was prohibited by the Motion Picture Production Code (or Hays Code) from being included in Hollywood films. Performer Ray Bourbon was arrested many times for his act, considered tame by today's standards.
It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.”
EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson.
At the height of the Pansy Craze in the late 1920s, Mae West penned The Drag, a “social problem” play that argued for sympathetic treatment of homosexuals. However, after out-of-town tryout runs, the play received a scandalous reception. Never making it to the Great White Way, The Drag was censored, and West was arrested. Draconian measures from City Hall, including the passage of New York City’s 1927 “padlock bill,” prohibited homosexual subject matter on the Broadway stage. A few years later, the Hays Code of 1934 banned images of homosexuality on the Hollywood screen. Consequently, censorship of gay themes in theater and film was the norm in the U.S. from the 1930s through the 1960s.
Expanding on the concept of the coffeehouse as a forum for beatnik poetry readings, Joe Cino opened his small Cornelia Street café in 1958 with the intention of creating a space where theater artists could develop their individual voices and form a community. The Caffe Cino’s locale rendered it out-of-the-way enough to feel like a private sanctuary and accessible enough for urban audiences ...
Lecture in KKP002: Imagining the Creative Future - one of a series of 'thought world' or 'paradigm' lectures designed to problematise a contemporary 'creative industries' practice.
1 Chicana Expression—Later 20th Century Public AVannaJoy20
1
Chicana Expression—Later 20th Century
Public Art and the Public Interest1 [Since the 1960s, a number of artists have engaged in
debates] over the nature of public space and the art that is to be placed within this space. In the
past in the United States, public art works often functioned as representations of civic virtues
meant to instill valuable moral lessons. They were also intended to mark the common values of a
diverse community and nation: heroic military efforts in defense of one’s country or one’s
freedoms, respect for the laws of the land. The 1960s changed all that. As people began to march
for civil rights and against the involvement of the United States in the war in Vietnam, many
began to look at public art and ask: “Whose values are being represented? Whose traditions and
beliefs? To whom are these works supposed to speak?” Certainly artists in the 1930s had created
images of working-class Americans in government buildings throughout the country, but those
murals omitted much—the racism directed at African Americans, Native Americans, Latinos and
Asian Americans, the struggles to unionize, the labor of women outside the home. Calls were
issued for a new kind of public art, one that was truly, in the words of the art historian Arlene
Raven, “in the public interest.”
Walls of Pride: Chicano/a Murals These calls were met most effectively by a new generation
of muralists, who began covering walls throughout the country with images of local history or of
the less celebratory side of national history. These artists argued that a public art could only be
truly public if those who shared space with it were consulted about its ultimate form and use. In
California in particular, a new and dynamic movement evolved that took inspiration from both the
murals of Mexico and the struggles of farm workers in the United States, led by Cesar Chavez
and Luisa Moreno, to unionize under the United Farm Workers of America (UFW).
The growing political activism of individuals of Mexican descent around this unionization drive, which
ultimately grew into a full-blown civil rights movement, led to the adoption by many of the name Chicano,
derived from Mexicano. While it had circulated as an informal term for several decades within
communities whose members described themselves as Mexican Americans, it was now used publicly
as a form of positive self-identification, indicative of a new political consciousness and a commitment
to social change. One of the first Chicano murals was produced in 1968 by Antonio Bernal on the side of
the UFW Center in Del Ray, California. The piece celebrates modern revolutionary leaders, including
Pancho Villa, and Emiliano Zapata (key figures in the Mexican Revolution of 1910-20), Cesar Chavez, ,
Malcolm X, and Martin Luther King. A companion piece depicted Pre-Columbian leaders.
Chicana Muralist Judith Baca and The Great Wall of Los An ...
Introduction to Art Chapter 27 Eighteenth and Nineteenth CenTatianaMajor22
Introduction to Art Chapter 27: Eighteenth and Nineteenth Centuries 357
Chapter 27: Eighteenth and Nineteenth
Centuries
The Asante Kingdom of West Africa
The Asante kingdom, part of the larger Akan culture was formed around 1700 under the
leadership of Osei Tutu. Osei Tutu brought together a confederation of states that had grown
wealthy and powerful as a result of the area’s lucrative trade in gold, sold to both northern
merchants across the Sahara and European navigators. The centralized system of government
that emerged was a complex network of chiefs and court officials under a single paramount
leader. A variety of gold regalia was used to distinguish rank and position within the court.
Among the Asante (or Ashanti), a popular legend relates how two young men—Ota Karaban and
his friend Kwaku Ameyaw—learned the art of weaving by observing a spider weaving its web.
One night, the two went out into the forest to check their traps, and they were amazed by a
beautiful spider’s web whose many unique designs sparkled in the moonlight. The spider, named
Ananse, offered to show the men how to weave such designs in exchange for a few favors. After
completing the favors and learning how to weave the designs with a single thread, the men
returned home to Bonwire (the town in the Asante region of Ghana where kente weaving
originated), and their discovery was soon reported to Asantehene Osei Tutu. The asantehene
(title of the Asante monarch) adopted their creation, named kente, as a royal cloth reserved for
special occasions, and Bonwire became the leading kente weaving center for the asantehene
and his court.
Asantehene Osei Tutu II wearing kente cloth, 2005 (photo: Retlaw Snellac, CC BY 2.0)
https://flic.kr/p/AQ7df
Introduction to Art Chapter 27: Eighteenth and Nineteenth Centuries 358
Originally, the use of kente was reserved for Asante royalty and limited to special social and
sacred functions. Even as production has increased and kente has become more accessible to
those outside the royal court, it continues to be associated with wealth, high social status, and
cultural sophistication. Kente is also found in Asante shrines to the deities, or abosom, as a mark
of their spiritual power.
Patterns each have a name, as does each cloth in its entirety. Names can be inspired by
historical events, proverbs, philosophical concepts, oral literature, moral values, human and
animal behavior, individual achievements, or even individuals in pop culture. In the past, when
purchasing a cloth, the aesthetic and social appeal of the cloth’s was as important as—or
sometimes even more important than—its visual pattern or color.
The King has Boarded the Ship (Asante kente cloth), c. 1985, rayon (collection of Dr. Courtnay Micots)
This cloth is named The King Has Boarded the Ship, and it includes both warp and weft patterns.
The warp pattern, consisting of two multicolor stripes on blue, relates to the prover ...
After my lecture for the International Conference for Curators of Contemporary Art (IKT) in Siena in 2001, I was invited by the Vestjaellands Kunstmuseum in Denmark to write an essay in the framework of "Industry of Vision" a project and exhibition that addressed and questioned historical and contemporary Utopias and Heterotopias.
Dr David Hopkins is Senior Lecturer in Art History at the
University of Glasgow, where his broad areas of specialism are
Dada and Surrealism, the history and theory of post-1945 art, and
twentieth-century photography. He has published extensively on
Dada and Surrealism and related topics in post-war art. His
publications include Marcel Duchamp and Max Ernst: the Bride
Shared (Oxford University Press, Clarendon Studies in the History
of Art, 1998) and Marcel'Duchamp (London, 1999), co-authored
with Dawn Ades and Neil Cox. He has recently curated an
exhibition of photographs by Weegee at the Stills Gallery,
Edinburgh. He also writes and performs poetry, often in
collaboration with other performers and visual artists.
For this Portfolio Project, you will write a paper about John A.docxevonnehoggarth79783
For this Portfolio Project, you will write a paper about "John Adams" as well as any event in U.S. history that is relevant to your major area of study or of interest to you. You will write about John Adams from the perspective of another historical personality who lived at the same time as the person or event you are going to describe.
For your historical personality, try to select someone from an under-represented population (examples of possible perspectives include that of Anne Hutchinson, Pocahontas, or Sojourner Truth). This analysis is to make you think about how events/people’s actions were interpreted at the time.
Key Points::
Remember that you will be writing from the perspective of a historical person about another person or an event from a period of U.S. history up to Reconstruction. From your historical person’s perspective, provide a thorough summary of the person or event you’ve chosen to write about, including the incidents that took place and any key individuals involved or affected.
Address the general importance of the person or event in the context of U.S. history.
Now, explain specifically how the person or event changed “your” daily life—“you” being the historical persona you have adopted.
Think long-term: How will the person or the event you are describing make a long-term impact in the lives of people who are in the under-represented group to which your historical person/perspective belongs?
Paper Requirements:
Your paper must be four to six pages, not including the required references and title pages.
Use at least five sources, not including the textbook. Include a scholarly journal article. Include at least one
primary
source from those identified in the syllabus.
Definition of a Primary Source
: A primary source is any source, document or artifact that was created at the time of the event. It was usually created by someone who witnessed the event, lived during or even shortly afterwards, or somehow would have first-hand knowledge of that event. A secondary source, by contrast, is written by a historian or someone writing about the event after it happened.
Have an introduction and strong thesis statement. Make use of support and examples supporting your thesis
Finish with a forceful conclusion reiterating your main idea.
Format your paper according to the
CSU-Global Guide to Writing and APA Requirements
(Links to an external site.)
.
.
For this portfolio assignment, you are required to research and anal.docxevonnehoggarth79783
For this portfolio assignment, you are required to research and analyze a TV program that ran between 1955 and 1965.
To successfully complete this essay, you will need to answer the following questions:
What is the background of this show? Explain what years it was on TV, describe the channel it aired on, the main characters, setting, etc..
What social issues and historical events were taking place at the time the show was being broadcast?
Did these issues affect the television show in any way?
Did the television show make an impact on popular culture?
Your thesis for the essay should attempt to answer this question:
Explain the cultural relevance of the show, given the information gathered from the show's background, and cultural history. How can television act as a reflection of the social, political, and cultural current events?
.
For this paper, discuss the similarities and differences of the .docxevonnehoggarth79783
For this paper, discuss the similarities and differences of the impacts of the causes of the 2008 Great Recession and the current world crisis with the CoVID-19 virus*
How did the regulations you've studied over the past few chapters and in the Financial Crisis Chapter (Chapter 12) prepare banks and other financial institutions to better weather the effects of the stay-at-home orders and other impacts of the pandemic? Are there other regulations that could be placed on the banking industry that would make sense and help them through these trying times?
*Note: I am not trying to downplay or minimize in any way the "human" impact or any other non-economic impacts of the virus; this paper is just focusing on one component of the costs, among the many different impacts (perhaps much more important impacts)
4 pages 4 resources
.
For this paper, discuss the similarities and differences of the impa.docxevonnehoggarth79783
For this paper, discuss the similarities and differences of the impacts of the causes of the 2008 Great Recession and the current world crisis with the CoVID-19 virus*
How did the regulations you've studied over the past few chapters and in the Financial Crisis Chapter (Chapter 12) prepare banks and other financial institutions to better weather the effects of the stay-at-home orders and other impacts of the pandemic? Are there other regulations that could be placed on the banking industry that would make sense and help them through these trying times?
*Note: I am not trying to downplay or minimize in any way the "human" impact or any other non-economic impacts of the virus; this paper is just focusing on one component of the costs, among the many different impacts (perhaps much more important impacts)
.
For this paper choose two mythological narratives that we have exami.docxevonnehoggarth79783
For this paper choose two mythological narratives that we have examined so far in this course, or that you are otherwise personally familiar with. The two myths that you choose should have one or more elements in common, possibly including (but not limited to):
Overarching story (e.g., creation, flood) or story elements (e.g., descent into the underworld, establishment of divine rulership, rapture of mortals by gods, divine disguise)
Narrative structure (e.g., repetitive patterns, discursion)
Themes (e.g., love, jealousy, mortality, revenge, mutability/transformation, limits of human power/knowledge)
Characters (e.g., tricksters)
Cultural functions (e.g., reinforcement of societal norms, explanation of origins of society, explanation of natural phenomena, incorporation in ritual practices, entertainment)
Compare and contrast the two myths you choose, taking into consideration the various elements noted above and any others you deem relevant. (In making comparisons, you do not necessarily need to apply the specifically "comparativist" approach discussed in the course as one historical strand of mythological analysis.)
While you are welcome to reference external sources, this is not a research paper and the use of secondary sources is not required or expected. If you choose to examine a myth not discussed in the course, however, please indicate the source from which you have taken this.
.
For this module, there is only one option. You are to begin to deve.docxevonnehoggarth79783
For this module, there is only one option. You are to begin to develop your diversity consciousness by
identifying a current event in the news pertaining to social inequality in terms social class, gender, or racial ethnicity.
You are to
provide the link to this news article and analyze
the report including in your discussion the following:
What social inequality is being demonstrated in this current even? Describe it
What relationship is going on between the “majority” and “minority group.” Define who is the majority and who is the minority. Describe why you have identified the group as minority and majority.
Who is being marginalized in this event? How? Why do you believe they are being marginalized?
Is any group being “blamed” in this event? Is this “blame” at the individual level or the societal level – or both?
Who has the power in this situation? What is that power?
Who has the privilege in this situation? What is that privilege?
What suggestions do you have that would assist in addressing this social inequality?
What did you learn? (How did this develop your diversity consciousness?)
need to cite using apa and needs to be at least 250 words
.
For this Major Assignment 2, you will finalize your analysis in .docxevonnehoggarth79783
For this Major Assignment 2, you will finalize your analysis in your Part 3, Results section, and finalize your presentation of results from the different data sources. Also, for this week, you will complete the Part 4, Trustworthiness and Summary section to finalize the last part of this Major Assignment 2.
To prepare for this Assignment:
· Review the social change articles found in this week’s Learning Resources.
Part 4: Trustworthiness and Summary
D. Trustworthiness—summarize across the different data sources and respond to the following:
o What themes are in common?
o What sources have different themes?
o Explain the trustworthiness of your findings, in terms of:
§ Credibility
§ Transferability
§ Dependability strategies
§ Confirmability
Summary
· Based on the results of your analyses, how would you answer the question: “What is the meaning of social change for Walden graduate students?”
· Self-Reflection—Has your own understanding of you as a positive social change agent changed? Explain your reasoning.
· Based on your review of the three articles on social change, which one is aligned with your interests regarding social change and why?
By Day 7
Submit
Parts 1, 2, 3, and 4 of your Major Assignment 2.
.
For this Final Visual Analysis Project, you will choose one website .docxevonnehoggarth79783
For this Final Visual Analysis Project, you will choose one website that you visit frequently (it must be a professional business website, not your own personal website). Feel free to use websites such as Nike, Apple, Northwestern Mutual, etc. or a website that applies to your career choices.
Once you choose your website, you will begin to consider the effects the visual elements have on the viewers and
create a thesis statement and outline using the response elements 1-5 below.
For the Thesis & Outline TEMPLATE document click
here
.
APA title page, reference page, and formatting.
Use at least four academic/scholarly sources.
Use properly cited quotes and paraphrases when necessary.
Complete, polished, and error-free cohesive sentences.
Contains an introduction, body, and conclusion.
Sensory Response –
When analyzing the viewer’s sensory response to a particular visual, it is important to consider the visual elements that attract the eyes. Close your eyes when considering a visual. When you open your eyes, what are the first visual elements that you see? When analyzing a viewer’s Sensory Response, you may consider analyzing at least two of the following effects:
Colors
Lines
Shapes
Balance
Contrast
Perceptual Response –
When analyzing a viewer’s perception of visuals, it is important to consider the audience. Consider who is or is not attracted to this type of visual communication. When analyzing a viewer’s Perceptual Response, consider at least two of the following effects:
Target audience specifics (age, profession, gender, financial status, etc.)
Cultural familiarity elements (ethnicity, religious preference, social groups, etc)
Cognitive visuals (viewer’s memories, experiences, values, beliefs, etc.)
Technical Response –
When analyzing a viewer’s response to certain visuals, we need to consider the technical visual aspects that may affect perception. Describe how visuals affect the interpretation of the intended media communication message. Address specific technological elements that impact perception. When analyzing the Technical Response, consider the Laws of Perceptual Organization (similarity, proximity, continuity, common fate, etc), and at least two of the following types of visuals:
Drop-down menus
Hover-over highlighting
Animations
Quality of visuals
Emotional Response
– When analyzing a viewer’s Emotional Response, it is important to consider the targeted audience preferences and emotional intelligence. Discuss what the viewer might want to see and what type of visual presentation will set the tone for that response. When analyzing the Emotional Response, consider the effects of at least two of the following types of visuals:
Mood setting colors
Mood setting lighting
Persuasive images
Positioning of search or purchase buttons
Social media icons and share options
Ethical Response -
When analyzing a viewer’s Ethical Response, it is important to consider the ta.
For this essay, you will select one of the sources you have found th.docxevonnehoggarth79783
For this essay, you will select one of the sources you have found through your preliminary research about your research topic (see Assignment 1.1). Which source you choose is up to you; however, it should be substantial enough that you will be able to talk about it at length, and intricate enough that it will keep you (and your reader) interested. For more info see attached document
.
For this discussion, you will address the following prompts. Keep in.docxevonnehoggarth79783
For this discussion, you will address the following prompts. Keep in mind that the article or video you’ve chosen should not be about critical thinking, but should be about someone making a statement, claim, or argument related to Povetry & Income equality. One source should demonstrate good critical thinking skills and the other source should demonstrate the lack or absence of critical thinking skills. Personal examples should not be used.
1. Explain at least five elements of critical thinking that you found in the reading material.
2.Search the Internet, media, and find an example in which good critical thinking skills are being demonstrated by the author or speaker. Summarize the content and explain why you think it demonstrates good critical thinking skills.
3.Search the Internet, media, or and find an example in which the author or speaker lacks good critical thinking skills. Summarize the content and explain why you think it demonstrates the absence of good, critical thinking skills.
Your initial post should be at least 250 words in length, which should include a thorough response to each question.
Due midnight Thursday April 22,2020
.
For this discussion, research a recent science news event that h.docxevonnehoggarth79783
For this discussion, research a recent science news event that has occurred in the last six months. The event should come from a well-known news source, such as ABC, NBC, CBS, Fox, NPR, PBS, BBC, National Geographic, The New York Times, and so on. Post a link to the news story, and in your initial post:
* Summarize your news story and its contributions to the science or STEM fields
* If your news event is overtly related to globalization, explain how this event contributes to global studies. If your news event does not directly relate to globalization, how could the science behind your event be applied to global studies?
.
For this Discussion, review the case Learning Resources and the .docxevonnehoggarth79783
For this Discussion, review the case Learning Resources and the case study excerpt presented. Reflect on the case study excerpt and consider the therapy approaches you might take to assess, diagnose, and treat the patient’s health needs.
Case: An elderly widow who just lost her spouse.
Subjective: A patient presents to your primary care office today with chief complaint of insomnia. Patient is 75 YO with PMH of DM, HTN, and MDD. Her husband of 41 years passed away 10 months ago. Since then, she states her depression has gotten worse as well as her sleep habits. The patient has no previous history of depression prior to her husband’s death. She is awake, alert, and oriented x3. Patient normally sees PCP once or twice a year. Patient denies any suicidal ideations. Patient arrived at the office today by private vehicle. Patient currently takes the following medications:
•
Metformin 500mg BID
•
Januvia 100mg daily
•
Losartan 100mg daily
•
HCTZ 25mg daily
•
Sertraline 100mg daily
Current weight: 88 kg
Current height: 64 inches
Temp: 98.6 degrees F
BP: 132/86
By Day 3 of Week 7
Post
a response to each of the following:
• List three questions you might ask the patient if she were in your office. Provide a rationale for why you might ask these questions.
• Identify people in the patient’s life you would need to speak to or get feedback from to further assess the patient’s situation. Include specific questions you might ask these people and why.
• Explain what, if any, physical exams, and diagnostic tests would be appropriate for the patient and how the results would be used.
• List a differential diagnosis for the patient. Identify the one that you think is most likely and explain why.
• List two pharmacologic agents and their dosing that would be appropriate for the patient’s antidepressant therapy based on pharmacokinetics and pharmacodynamics. From a mechanism of action perspective, provide a rationale for why you might choose one agent over the other.
• For the drug therapy you select, identify any contraindications to use or alterations in dosing that may need to be considered based on the client’s ethnicity. Discuss why the contraindication/alteration you identify exists. That is, what would be problematic with the use of this drug in individuals of other ethnicities?
• Include any “check points” (i.e., follow-up data at Week 4, 8, 12, etc.), and indicate any therapeutic changes that you might make based on possible outcomes that may happen given your treatment options chosen.
Respond to the these discussions. All questions need to be addressed.
Discussion 2 Me
Treatment of a Patient with Insomnia
The case presented this week, is that of a 75-year-old widow who just lost her spouse 10-months ago. Th patient presents with chief complaints of insomnia. Past medical history of DM, HTN, and MDD is reported. Since the passing of her husband, she states her depression has gotten worse .
For this Discussion, give an example of how an event in one part.docxevonnehoggarth79783
For this Discussion, give an example of how an event in one part of the world can cause a response elsewhere in the world:
Reviewing the aspects of your event, analyze the cause and effect of global influences through direct or indirect means.
What aspects of diversity are evident in your event?
How can understanding diversity benefit a society?
.
For this discussion, consider the role of the LPN and the RN in .docxevonnehoggarth79783
For this discussion, consider the role of the LPN and the RN in the nursing process.
How would the LPN and RN collaborate to develop the nursing plan of care to ensure the patient is achieving their goal?
What are the role expectations for the LPN and RN in the nursing process?
Pls include two references and intext citation.
.
For this discussion, after you have viewed the videos on this topi.docxevonnehoggarth79783
For this discussion, after you have viewed the videos on this topic posted in this week's assignment, please answer the questions posted with this week's discussion.
After posting your individual answers to questions, you are required to respond to 2 students answers with meaningful/thoughtful input on their comments. Your responses must be minimum of a paragraph with at least 3 sentences. Your comments to 2 students
Video #1: History of Homosexuality on Film -- https://youtu.be/SeDhMKd83r4
Video #2: The Gay Culture, According to Television -- https://youtu.be/EbdxRZJfRp4
Video #3: Top 10 Groundbreaking Moments for LGBTQ Characters on TV -- https://youtu.be/yXJAzPJFjQ8
Video #4: I'm Gay, But I'm not ... -- https://criticalmediaproject.org/im-gay-but-im-not/
Video #5: Acting Gay - One Word Cut -- https://youtu.be/a4jfiqiIy0A
LGBTQ+ Questions:
· Name some common stereotypes associated with LGBTQ community?
· What role does media play in establishing & perpetuating these stereotypes?
· Name 2 LGBTQ characters, 1 one from current show/movie; 1 from 10-15 years ago
. Are there differences in the characters?
. Have things changed? Evolved? Improved?
· Are LGBTQ characters portrayed differently than straight characters?
· Why do stories involving LGBTQ characters revolve around their sexuality or sexual orientation?
Acting Gay - One Word: What is your one-word association with the saying "Acting Gay"? Why did you choose this word?
Jarrett Kelley
LGBTQ Discussion
COLLAPSE
Top of Form
1. Some common stereotypes that coincide with the LGBTQ community are promiscuous, non-religious, flamboyant, mentally ill, high sex drives, etc.
2. The media plays a role in establishing these stereotypes because the general public is always watching these shows, reading the news, and listening to stories about different cultures and groups and media that they may not see or interact with in their lives. Therefore, media is an outlet to show these things in a easy way to gain knowledge about people without meeting people face-to-face apart of these groups when sometimes the stereotypes shown can't represent everyone in those groups.
3. Currently, in Marvel's Runaways, that ended in December, there are two lesbian superheros that share a kiss at the end of a season. Karolina, one of the characters, wants to get away from her childhood of religious upbringing and wants to pursue her own life with her superpower of glowing colors. Nico is shown with a Gothic appearance and can be seen as aggressive but down to earth as well. The War at Home was a television show on Fox and a character named Kenny, who is sixteen years old, is kicked out of his house by his parents after finding out he is gay.
a. There are some differences in the characters as Karolina is more flamboyant and colorful, compared to Nico who is goth and likes to remain strictly to business. Kenny is quiet most of the time about his life, especially about his gay crush until his p.
For this discussion choose one of the case studies listed bel.docxevonnehoggarth79783
For this "discussion" choose
one
of the case studies listed below and mention which case study number you picked. After completing your readings, you should be able to identify the psychological disorder associated to each. After choosing one case study, identify the diagnosis, symptoms in your words and treatment plan for that diagnosis. Provide
in-text citations and references in APA format
to indicate where you are getting information from regarding diagnosis and treatment options).
This is the Case Study I chose:
Martin is a 21 year-old business major at a large university. Over the past few weeks his family and friends have noticed increasingly bizarre behaviors. On many occasions they’ve overheard him whispering in an agitated voice, even though there is no one nearby. Lately, he has refused to answer or make calls on his cell phone, claiming that if he does it will activate a deadly chip that was implanted in his brain by evil aliens. His parents have tried to get him to go with them to a psychiatrist for an evaluation, but he refuses. He has accused them on several occasions of conspiring with the aliens to have him killed so they can remove his brain and put it inside one of their own. He has stopped attended classes altogether. He is now so far behind in his coursework that he will fail if something doesn’t change very soon. Although Martin occasionally has a few beers with his friends, he’s never been known to abuse alcohol or use drugs. He does, however, have an estranged aunt who has been in and out of psychiatric hospitals over the years due to erratic and bizarre behavior.
The Psychological disorder is: SCHIZOPHRENIA
I have attached the reading as well.
Please Consider the following:
APA Format
Only sources from the text
250 words or more
Please let me know if you need anything else.
.
For this assignment, you will use what youve learned about symbolic.docxevonnehoggarth79783
For this assignment, you will use what you've learned about symbolic interactionism to develop your own analysis.
Your assignment is to select a television program that you know contains social inequality or social class themes. In 3-5 pages make sure to provide the following:
Provide a brief introduction that includes the program's title, describes the type of program, and explains which social theme you are addressing
Describe and explain scenes that apply to the social theme.
Identify all observed body language, facial expressions, gestures, posture stances, modes of dress, nonverbal cues, symbols, and any other observed nonverbal forms of communication in the scenes.
Explain your interpretation of the meanings of the identified nonverbal communications and symbolism.
Summarize how these interpretations are important to the sociological understanding of your chosen social inequality or social class theme.
Suggest how your interpretation of the respective meanings might be generalized to society as a whole.
.
For this Assignment, you will research various perspectives of a mul.docxevonnehoggarth79783
For this Assignment, you will research various perspectives of a multicultural education issue and develop an advocacy plan to effectively communicate and advocate for a culturally responsive solution. During the development of your advocacy plan, synthesize and reflect on the major learning points that are applicable to leading culturally responsive social change in your context.
To prepare for this Assignment, review the issues you identified in the Equity Audit assignment.
Review Chapters 1–5 (pp. 1–64) of “An Introduction to Advocacy: Training Guide.”
Develop and submit your advocacy plan. To complete this Assignment, use the document below:
.
For this assignment, you will be studying a story from the Gospe.docxevonnehoggarth79783
For this assignment, you will be studying a story from the Gospels. More specifically, you will be studying Jesus encounter with Mary and Martha in Luke 10:38-42. You will use the template below in order to complete a study of this passage. In your study, you will use the skills of Observation, Interpretation, Correlation, and Application that you have become familiar with through your reading in
Everyday Bible Study
.
.
For this assignment, you will discuss how you see the Design Princip.docxevonnehoggarth79783
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Unity: what elements work together to make a harmonious whole?
Variety: What creates diversity?
Balance: Is it symmetrical or asymmetrical?
Emphasis: What is the focal point?
Repetition and rhythm: Is an element repeated?
Scale and proportion: Are the objects in proportion to each other?
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This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
81TRASHVictor J. JonesCertain works of art and a.docx
1. 81
TRASH
Victor J. Jones
Certain works of art and architecture can be considered trash,
but when is trash art? Spolia and Arte Povera are two exam-
ples at either end of the historical spectrum where refuse is
transfigured into art. Constantine’s triumphal arch in Rome
uses reclaimed sculptural elements from previous buildings.
Luciano Fabro composed sculptures from commonplace
materials and used wares to create works such as Pavimento
(Tautologia). Whether from the spoils of war during Roman
antiquity or resistance to modernism and technology in Italy
during the 1960s, their practices crafted cultural relevance
from discarded matter.
In line with these instances is assemblage art, which has
had a hand in shaping art and architecture in Los Angeles
for almost a century. This essay travels into Watts, moving past
the familiar path of violence in this legendary part of Los
Angeles to revisit experiments with trash that began there in
the 1920s. The story reveals how today a grassroots nonprofit
arts organization, its director, and a handful of architects,
artists, and neighborhood residents are working together to
refurbish a row of dilapidated houses along East 107th Street.
Their collective efforts and participative production weave
art and architecture from detritus and the everyday to build
and sustain an alternative vision for this underserved commu-
nity. The trail of unexpected combinations and juxtapositions
2. begins at the end of a narrow street under a monument made
of rubbish—the Watts Towers.
While visiting Los Angeles for the first time (to attend the
opening of his 1963 Elvis exhibition at Ferus Gallery), Andy
Warhol bought a sixteen-millimeter sync-sound Bolex camera
and shot his partially improvised riff on the Hollywood
adventures of Tarzan.1 In Tarzan and Jane, Regained, Sort of…,
a free-spirited cast of artists and actors roams the tangled
web of freeways and unlikely destinations that replace the wil-
derness of a jungle. The Beverly Hills Hotel swimming pool
substitutes for a lagoon and the Watts Towers stand in for trees,
1 The purchase of the Swiss black box marked the beginning of
a five-year
period during which Warhol directed and produced over sixty
experimental
films. For more information about the films of Andy Warhol,
consult Andy
Warhol’s Blow Job, by Roy Grundmann, and The Black Hole of
the Camera:
The Films of Andy Warhol, by J.J. Murphy.
82
vines, and low-lying flora. Midway through the film, Tarzan
rests
with a dog under one of the smaller structures of the Watts
Towers. The narrator whispers, “Jane has been changed into
a dog by the forces of evil.”
Ominous forces are not alien to Watts. The politics that
define and shape the place are murky. Infamously dark
tales of corruption, dubious business deals, discriminatory
3. policies, and corrosive public services have transformed
the once placid 220-acres of alfalfa fields and livestock farms
from a thriving multiethnic, working-class community into
one of the earliest examples of a twentieth-century American
ghetto.2 Well before the decay that ravaged most American
inner cities during the late 1960s and 1970s, Watts became
the embodiment of destructive urban practices.3 On August
11, 1965, on the one-hundredth anniversary of the Thirteenth
Amendment enactment to the united States Constitution,
America’s most violent social uprising ignited in Watts, only
to be followed twenty-eight years later by another. Subse-
quently, the notorious 1965 Watts Riots and the 1992 Rodney
King Riots have cast dark shadows on the region.
Not surprisingly, many Angelinos never venture to this
2.5-square-mile section of southeast Los Angeles. For most,
Watts resides in the collective psyche as a euphemism, a
one-word cautionary tale of persistent cultural, social, and
economic tension. What the novelist Thomas Pynchon wrote in
1966 still rings true: “Watts is country which lies, psychologi-
cally, further than most whites seem at present willing
to travel.… Yet, in the daytime’s brilliance and heat, it is
hard to believe there is any mystery to Watts. Everything
seems so out in the open, all of it real, no plastic faces,
2 Known as the “crossroads of Los Angeles,” Mexican, African,
and Asian
Americans worked and lived alongside White Americans in
Watts from the
early 1900s until the late 1950s, when Watts suffered the effects
of white
flight, due to the early erosion of jobs in heavy manufacturing.
In addition
to the struggles of urban restructuring, redlining, and freeways,
right
4. wing politics pressured Jews and other white ethnics to leave
peacefully
integrated neighborhoods for white suburbs. Sarah Schrank,
“Nuestro
Pueblo: The Spatial and Cultural Politics of Los Angeles,” in
The Spaces of
the Modern City: Imaginaries, Politics, and Everyday Life, ed.
Gyan Prakash
(Princeton: Princeton university Press, 2008), 276.
3 unemployment, decreased home ownership, and the loss of
public
transportation were provoked by practices such as racial
discrimination,
restrictive housing covenants, and redlining policies intended to
limit
where populations could live based on race and ethnicity.
Schrank, 276.
83
no transistors, no hidden Muzak, or Disneyfield landscaping,
or smiling little chicks to show you around. Not in
Raceriotland.
Only a few historic landmarks…” 4
At the heart of Watts on East 107th Street stands the
neighborhood’s best-known historic landmark—the Watts Tow-
ers (figure 1). Stained by neglect and fierce social uprising, the
towers are a memento of the neighborhood’s other legacy,
assemblage art. Seventeen structures in the form of tall spires,
elaborate fountains, and gazebos are nestled in a triangular
parcel of land left over from the Pacific Electric Railroad line.
6. By 1964, the towers had become a contested site for
local artistic and cultural activity operating outside of the art
world’s institutionalized circles. Without access to galleries,
museums, and publishing, artists began experimenting with
ideas of community building to reimagine their creative role
and purpose. The racial tension growing in Watts at the time
offered an ideal stage from whence to pronounce an alter-
native vision to the violent protests. Artists such as Noah
Purifoy,
Dale Brockman Davis, John Outterbridge, Betye Saar, and
Charles Dickson believed political aims could be achieved
through aesthetic means.6 Trash became the predominant
medium as objets trouvés and everyday items were recon-
figured into expressive works of art. Sharing a commitment
to art as a means of social change, Purifoy and Outterbridge
became known for their Duchampian interprtations using
debris and junk from the 1965 Watts riots.7 unfortunately,
little historical research has been devoted to this creative
renaissance in Watts, which spanned two decades, and its
significance to the realm of participatory art practices and
cultural production remains underexplored.8
In the aftermath of the Rodney King Riots, the Museum
of Contemporary Art in Los Angeles presented UNCOMMON
SENSE. The 1997 exhibition was a timely appraisal of artists
5 Cécile Whiting, Pop L.A.: Art and the City in the 1960s
(Berkeley: university
of California Press, 2006), 138–65.
6 Curtis J. Carter, Watts: Art and Social Change in Los
Angeles, 1965–2002
(Milwaukee, WI: Haggerty Museum of Art, Marquette
university, 2003)
7. 7 Noah Purifoy’s Joshua Tree Outdoor Museum displays
Purifoy's assemblage
sculptures, all created on-site between 1989 and 2004, on 7.5
acres of
open land. John Outterbridge’s The Rag Factory (2011) was a
site-specific
installation commissioned by and exhibited at LA><ART in
Los Angeles
as part of the Getty initiative Pacific Standard Time.
8 For a more detailed overview of the Watts art movement,
consult Curtis J.
Carter, Watts: Art and Social Change in Los Angeles, 1965–
2002; Cécile
Whiting, Pop L.A.: Art and the City in the 1960s, 138–65; and
Kellie Jones,
Now Dig This!: Art and Black Los Angeles, 1960–1980 (Los
Angeles: Hammer
Museum, 2011).
85
engaged in public participation and social interaction. One of
the six contributing artists, Rick Lowe, created the Watts House
Project (WHP), a pilot art initiative addressing the
neighborhood
immediately surrounding the Watts Towers.9 Over the course
of the installation, neighborhood residents, local artists,
business
leaders, city officials, and others vocalized their vision for East
107th Street. They concluded the neighborhood should be
further developed as an artists’ district by reinforcing the
8. existing
community arts and education youth centers surrounding
the fabled towers. In addition, they resolved that more services
should be provided to the influx of art tourists that visit the
towers each year. Following the installation, Lowe, with the
assistance of Los Angeles-based artist Edgar Arceneaux,
continued to organize community efforts and develop a strategic
plan for initiating WHP.
In 2007, Arceneaux and Sue Bell Yank, assistant director
of academic programs at the Hammer Museum, officially
launched Watts House Project. Its founders, eager to reinforce
the cultural legacy surrounding the towers, set out to delin-
eate anew how art and architecture could operate as a catalyst
for economic and community development. In the spirit of
assemblage art practices, WHP enlists neighborhood residents,
artists, architects, and scholars to reimagine collaboratively a
social, political, and spatial trajectory for process-based
projects
outside conventional forms of practice. As with earlier Watts
art projects, the work emerges organically from the untidy and
everyday. The gritty “hands on” approach wrestles with the
unpredictable and provisional to broaden the concept of archi-
tecture and art and the processes that define each discipline.
Artist John Outterbridge, who was director of the Watts Towers
9 Rick Lowe founded Project Row Houses in Houston, where he
transformed
twenty-two row houses into an art center equipped with artists’
housing,
a sculpture garden, and an art park. Lowe began meeting with
residents in
the Northern Third Ward district to imagine how this historic
and struggling
African American neighborhood could be reimagined in an
9. economically
sustainable way. Project Row Houses has evolved from a single
block
to span six and a half blocks of buildings. It has spearheaded a
major artists’
residency program and helped boost the community’s basic
services
and infrastructure. Many similar problems plague Watts. The
2010 Census
report indicates that half of all families in Watts live in poverty,
with an
average per capita income of $6,681, compared with the
national average
of 15% who live below the poverty line and a per capita income
of $26,558.
In Watts, 64% of the residents do not have a high school
diploma; nationally,
15% have not obtained a high school diploma.
86
Arts Center for more than thirty years, describes WHP as
unique:
“up until now, the story of gentrification and architectural
philoso-
phy, in Watts, didn’t include this.”10
WHP was awarded a significant grant by the Warhol Foun-
dation in 2009.11 Three subsequent projects—one realized and
two proposed—are part of WHP’s effort to define a new gener-
ation of cultural activism, where the potency of the work is
drawn directly from its ability to venture beyond the studio and
into the city. One of these projects, the Cerant | Love House,
opts for disposable imagery over constructed matter to propa-
10. gate a cultural agenda. Another, the Garcia House, reassesses
flashbacks of life, time, and diminishing memory to create a
patchwork of physical spaces otherwise forgotten. The Platform
reformulates the wastelands produced by security fences.
The Cerant | Love House
One of the earliest projects initiated by WHP, the Cerant | Love
house is a collaborative effort between the studio artist Alex-
andra Grant, architects Roberto Sheinberg and Arnold Swan-
born, and local residents Louis Cerant and Moneik Johnson.
Borne from an installation piece by Grant entitled A Love That
Should Have Lasted, the initial concept was to erect a large-
scale sculptural piece using the word LOVE to symbolize unity
and affection in a place seen more often as divisive and riddled
with conflict. In a photomontage by Grant, the language and
text-based artist digitally collages the word LOVE with an
image
of the Cerants’ home; the word stands upright like a billboard
fixed atop of the bungalow (figure 2). The photomontage was
meant to act as a lightning rod to attract attention and resources
for the realization of the project, which intermingles narrative,
message, and spatial dimension. The project took an unexpected
10 Lynell George, “Watts House Project: Art Meets
Architecture Near the Towers,”
Los Angeles Times, November 2, 2008.
11 The Warhol Foundation awarded a grant in the amount of
$125,000 to WHP.
The primary focus of the foundation’s grant-making activity is
supporting
work that is experimental, under-recognized, or challenging in
nature.
The program has been both proactive in its approach to the field
of cultural
philanthropy and responsive to the changing needs of artists. A
11. strong
commitment to freedom of artistic expression led the Warhol
Foundation to
play an active advocacy role for artists during the culture wars
of the 1990s
and continues to inform its support of organizations that fight
censorship,
protect artists’ rights, and defend their access to evolving
technologies in
the digital age. Blake Eskin, “Making More Andys Possible,”
ARTnews, vol.
101, no. 5 (May 2002), 48.
87
Figure 2 Alexandra Grant, Love House, 2008. Digital
photomontage,
5 × 5 inches.
Figure 3 The Garcia House, Tapestry, Escher GuneWardena,
2010.
88
but fortuitous detour when the architects announced a series
of challenges, including insufficient structural support from
the existing roof and numerous zoning restrictions from the
Los Angeles building department. As a result, the proposed
project was never built, but the photomontage took on a life of
its own.12 An object in its own right, the LOVE image is a
mecha-
nism of popular culture that takes many forms and connects
12. directly with the hearts and minds of the public, becoming
an instrument for fundraising and garnering support for WHP
from institutions and individuals.
The Garcia House
The Garcia House compound consists of several structures that
accommodate three generations of one tight-knit family. The
design scheme of hodge-podge elements, by architects Frank
Escher and Ravi GuneWardena, adds necessary living space for
the second-generation family members who cohabit the com-
pound and remodeled the bathrooms and kitchens to keep
them in functioning order. In addition to addressing these more
prosaic needs, the architects, in collaboration with the artists’
collective Slanguage, developed a distinctive identity for the
family’s home through a series of interventions. The first is a
memory book tracing the family’s history in the neighborhood;
second is an artwork in the form of a reliquary to enshrine the
family book; and third are decorative architectural elements
interwoven in the architectural fabric of the home. For example,
a new carport, doubling as an outdoor dining pavilion, serves
as a communal gathering space for family festivities (figure 3).
The Platform
Security is a preoccupation for all people living on East 107th
Street. Fences surround every property, including the Watts
Towers, creating an archipelago of safety zones. The ubiqui-
tous infrastructure of fear is a localized notion of border con-
trol and defense against urban terrorists. To ease their sever-
ity, some of the fences are embellished reflections of Simon
Rodia’s towers, such as the work of self-taught sculptor Raul
Curiel, which is sprinkled throughout the neighborhood.
Nonetheless, as Mike Davis points out in City of Quartz, “We
live in ‘fortress cities’ brutally divided between ‘fortified cells’
…
13. Today’s colossal scale of residential and commercial security
12 Phone interview with Alexandra Grant, April 20, 2013.
89
supplants residual hopes for urban reform and social integra-
tion…” 13 The Platform is an inverse of the fortress
phenomenon.
The design compresses a new fence against the fronts of two
rundown structures that WHP purchased in 2009 to house their
offices and a variety of community amenities. In direct colla-
boration with WHP’s executive director Edgar Arceneaux, man-
aging director Will Sheffe, and program director Trinidad Ruiz,
the project set out to strengthen the neighborhood's sorely
lacking civic amenities by providing a point of interest that
serves
the institutional needs of WHP as well as the community. My
firm,
Fièvre + Jones, designed and built the Platform along with com-
munity resident Genaro Alvarez and student volunteers from the
university of Southern California School of Architecture.
The relocation of the property enclosure allows the Platform
to respond to a variety of performative needs with minimal
resources and complexity. The two houses share a courtyard
and are connected by gates that act as a visual marker for the
activities within; more importantly, they are unified by a screen
of
“hardiplank” slats painted in primer white, which do double
duty
as visual organizers and as security devices (figure 4). Event
spaces, such as a coffee shop and intimate yet public spaces
that residences and visitors can use at all times, are defined by
14. the simple act of opening and closing the various doors, gates,
13 Mike Davis, City of Quartz (New York: Vintage Books,
1990), 224.
Figure 4 Drawing indicating closed and opened position of the
new
Watts House Project Platform, Fièvre + Jones, 2010.
90
and window shutters integrated into the single surface (figures
5 and 6). The ubiquitous bars on doors, windows, and around
yards constitute a negative infrastructure in the community,
highlighting fear and uncertainty. By transforming this infra-
structure into an aesthetic element, rather than foregrounding
fear the two houses bespeak unity and modernity.
Figure 5 Diagram indicating the spatial variation of the Watts
House
Project Platform.
Figure 6 The Watts House Project Platform with the Watts
Towers
in the background, October 2012. Photo: Eric Staudenmaier.
91
Margins of Opportunity
These three projects in Watts re-conceptualize conventional
notions of place, space, and the street in order to capitalize on
margins of opportunity that would otherwise go fallow. Ques-
15. tions of where art and architecture overlap are coupled with
broader issues of public policy, zoning, and land use. The
projects conflate physical and perceptual structures to call out
and alter space and offer a positive sense of place in an other-
wise daunting political reality.
Instead of evoking destructive behavior or unwarranted
circumstances, trash draws connections between seemingly
unrelated artists who acknowledge and confront a constellation
of physical and cultural differences. Their cultural production
challenges a singular vision of creative practice and raises
awareness of the other. Simon Rodia, Andy Warhol, Noah
Purifoy,
John Outterbridge, and their contemporaries contributed to
a way of seeing and making that demonstrates the ability
of art and architecture to be a catalyst as well as disperse
forces on behalf of social change—reinforcing art and archi-
tecture’s necessity in brokering a complex world. The artists
and architects working today in Watts and with the Watts House
Project carry forward that vision in art, architecture, and infra-
structure projects that endow Watts with a proud public face,
the beginning of a much longer journey.
1
June 12, 1966
A Journey Into The Mind of Watts
16. By Thomas Pynchon
Los Angeles Times
he night of May 7, after a chase that began in Watts and ended
some 50 blocks farther north,
two Los Angeles policemen, Caucasians, succeeded in halting a
car driven by Leonard
Deadwyler, a Negro. With him were his pregnant wife and a
friend. The younger cop (who'd
once had a complaint brought against him for rousing some
Negro kids around in a more than
usually abusive way) went over and stuck his head and gun in
the car window to talk to
Deadwyler. A moment later there was a shot; the young Negro
fell sideways in the seat, and
died. The last thing he said, according to the other cop, was,
"She's going to have a baby."
The coroner's inquest went on for the better part of two weeks,
the cop claiming the car had
lurched suddenly, causing his service revolver to go off by
accident; Deadwyler's widow
claiming that it was cold-blooded murder and that the car had
never moved. The verdict, to no
one's surprise, cleared the cop of all criminal responsibility. It
had been an accident. The D.A.
announced immediately that he thought so, too, and that as far
as he was concerned the case was
closed.
But as far as Watts is concerned, it's still very much open.
Preachers in the community are urging
calm--or, as others are putting it: "Make any big trouble, baby,
The Man just going to come back
17. in and shoot you, like last time." Snipers are sniping but so far
not hitting much of anything.
Occasional fire bombs are being lobbed at cars with white faces
inside, or into empty sports
models that look as if they might be white property. There have
been a few fires of mysterious
origin. A Negro Teen Post--part of the L.A. poverty war's keep-
them-out-of-the- streets effort--
has had all its windows busted, the young lady in charge
expressing the wish next morning that
she could talk with the malefactors, involve them, see if they
couldn't work out the problem
together. In the back of everybody's head, of course, is the same
question: Will there be a repeat
of last August's riot?
An even more interesting question is: Why is everybody
worrying about another riot--haven't
things in Watts improved any since the last one? A lot of white
folks are wondering. Unhappily,
the answer is no. The neighborhood may be seething with social
workers, data collectors, VISTA
volunteers and other assorted members of the humanitarian
establishment, all of whose
intentions are the purest in the world. But somehow nothing
much has changed. There are still
the poor, the defeated, the criminal, the desperate, all hanging
in there with what must seem a
terrible vitality.
The killing of Leonard Deadwyler has once again brought it all
into sharp focus; brought back
longstanding pain, reminded everybody of how very often the
cop does approach you with his
revolver ready, so that nothing he does with it can then really be
accidental; of how, especially,
18. at night, everything can suddenly reduce to a matter of reflexes:
your life trembling in the crook
2
of a cop's finger because it is dark, and Watts, and the history
of this place and these times makes
it impossible for the cop to come on any different, or for you to
hate him any less. Both of you
are caught in something neither of you wants, and yet night
after night, with casualities or
without, these traditional scenes continue to be played out all
over the south-central part of this
city.
Whatever else may be wrong in a political way--like the
inadequacy of the Great Depression
techniques applied to a scene that has long outgrown them; like
old-fashioned grafter's glee
among the city fathers over the vast amounts of poverty-war
bread that Uncle is now making
available to them--lying much closer to the heart of L.A.'s racial
sickness is the co-existence of
two very different cultures: one white and one black.
While the white culture is concerned with various forms of
systematized folly--the economy of
the area in fact depending on it--the black culture is stuck pretty
much with basic realities like
disease, like failure, violence and death, which the whites have
mostly chosen--and can afford--
to ignore. The two cultures do not understand each other,
though white values are displayed
19. without let-up on black people's TV screens, and though the
panoramic sense of black
impoverishment is hard to miss from atop the Harbor Freeway,
which so many whites must drive
at least twice every working day. Somehow it occurs to very
few of them to leave at the Imperial
Highway exit for a change, go east instead of west only a few
blocks, and take a look at Watts. A
quick look. The simplest kind of beginning. But Watts is
country which lies, psychologically,
uncounted miles further than most whites seem at present
willing to travel.
On the surface anyway, the Deadwyler affair hasn't made it look
any different, though
underneath the mood in Watts is about what you might expect.
Feelings range from a reflexive,
angry, driving need to hit back somehow, to an anxious worry
that the slaying is just one more
bad grievance, one more bill that will fall due some warm
evening this summer. Yet in the
daytime's brilliance and heat, it is hard to believe there is any
mystery to Watts. Everything
seems so out in the open, all of it real, no plastic faces, no
transistors, no hidden Muzak, or
Disneyfied landscaping or smiling little chicks to show you
around. Not in Raceriotland. Only a
few historic landmarks, like the police substation, one command
post for the white forces last
August, pigeons now thick and cooing up on its red-tiled roof.
Or, on down the street, vacant
lots, still looking charred around the edges, winking with
emptied Tokay, port and sherry pints,
some of the bottles peeking out of paper bags, others busted.
A kid could come along in his bare feet and step on this glass--
20. not that you'd ever know. These
kids are so tough you can pull slivers of it out of them and
never get a whimper. It's part of their
landscape, both the real and the emotional one: busted glass,
busted crockery, nails, tin cans, all
kinds of scrap and waste. Traditionally Watts. An Italian
immigrant named Simon Rodia spent
30 years gathering some of it up and converting a little piece of
the neighborhood along 107th
Street into the famous Watts Towers, perhaps his own dream of
how things should have been: a
fantasy of fountains, boats, tall openwork spires, encrusted with
a dazzling mosaic of Watts
debris. Next to the Towers, along the old Pacific Electric tracks,
kids are busy every day busting
more bottles on the street rails. But Simon Rodia is dead, and
now the junk just accumulates.
3
A few blocks away, other kids are out playing on the hot
blacktop of the school playground.
Brothers and sisters too young yet for school have it better--
wherever they are they have yards,
trees, hoses, hiding places. Not the crowded, shadeless tenement
living of any Harlem; just the
same one- or two-story urban sprawl as all over the rest of L.A.,
giving you some piece of grass
at least to expand into when you don't especially feel like being
inside.
In the business part of town there is a different idea of refuge.
Pool halls and bars, warm and
21. dark inside, are crowded; many domino, dice and whist games
in progress. Outside, men stand
around a beer cooler listening to a ball game on the radio;
others lean or hunker against the sides
of buildings--low, faded stucco boxes that remind you, oddly, of
certain streets in Mexico.
Women go by, to and from what shopping there is. it is easy to
see how crowds, after all, can
form quickly in these streets, around the least seed of a
disturbance or accident. For the moment,
it all only waits in the sun.
Overhead, big jets now and then come vacuum-cleanering in to
land; the wind is westerly, and
Watts lies under the approaches to L.A. International. The jets
hang what seems only a couple of
hundred feet up in the air; through the smog they show up more
white than silver, highlighted by
the sun, hardly solid; only the ghosts, or possibilities, of
airplanes.
From here, much of the white culture that surrounds Watts--and,
in a curious way, besieges it--
looks like those jets: a little unreal, a little less than substantial.
For Los Angeles, more than any
other city, belongs to the mass media. What is known around
the nation as the L.A. Scene exists
chiefly as images on a screen or TV tube, as four-color
magazine photos, as old radio jokes, as
new songs that survive only a matter of weeks. It is basically a
white Scene, and illusion is
everywhere in it, from the giant aerospace firms that flourish or
retrench at the whims of Robert
McNamara, to the "action" everybody mills long the Strip on
weekends looking for, unaware that
they, and their search which will end, usually, unfulfilled, are
22. the only action in town.
Watts lies impacted in the heart of this white fantasy. It is, by
contrast, a pocket of bitter reality.
The only illusion Watts ever allowed itself was to believe for a
long time in the white version of
what a Negro was supposed to be. But with the Muslim and
civil-rights movements that went,
too.
Since the August rioting, there has been little building here,
little buying. Lots whose buildings
were burned off them are still waiting vacant and littered with
garbage, occupied only by a
parked car or two, or kids fooling around after school, or winos
sharing a pint in the early
morning. The other day, on one of them, there were ground-
breaking festivities, attended by a
county supervisor, pretty high-school girls decked in ribbons, a
white store owner and his wife,
who in the true Watts spirit busted a bottle of champagne over a
rock--all because the man had
decided to stay and rebuild his $200,000 market, the first such
major rebuilding since the riot.
Watts people themselves talk about another kind of aura,
vaguely evil; complain that Negroes
living in better neighborhoods like to come in under the freeway
as to a red-light district, looking
for some girl, some game, maybe some connection. Narcotics is
said to be a rare bust in Watts
these days, although the narco people cruise the area earnestly,
on the lookout for dope fiends,
dope rings, dope peddlers. But the poverty of Watts makes it
more likely that if you have pot or a
23. 4
little something else to spare you will want to turn a friend on,
not sell it. Tomorrow, or when he
can, your friend will return the favor.
At the Deadwyler inquest, much was made of the dead man's
high blood alcohol content, as if his
being drunk made it somehow all right for the police to shoot
him. But alcohol is a natural part of
the Watts style; as natural as LSD is around Hollywood. The
white kid digs hallucination simply
because he is conditioned to believe so much in escape, escape
as an integral part of life, because
the white L.A. Scene makes accessible to him so many different
forms of it. But a Watts kid,
brought up in a pocket of reality, looks perhaps not so much for
escape as just for some calm,
some relaxation. And beer or wine is good enough for that.
Especially good at the end of a bad
day.
Like after you have driven, say, down to Torrance or Long
Beach or wherever it is they're hiring
because they don't seem to be in Watts, not even in the miles of
heavy industry that sprawl along
Alameda Street, that gray and murderous arterial which lies at
the eastern boundary of Watts
looking like the edge of the world.
So you groove instead down the freeway, maybe wondering
when some cop is going to stop you
because the old piece of a car you're driving, which you bought
24. for $20 or $30 you picked up
somehow, makes a lot of noise or burns some oil. Catching you
mobile widens The Man's
horizons; gives him more things he can get you on. Like
"excessive smoking" is a great favorite
with him.
If you do get to where you were going without encountering a
cop, you may spend your day
looking at the white faces of personnel men, their uniform glaze
of suspicion, their automatic
smiles, and listening to polite putdowns. "I decided once to
ask," a kid says, "one time they told
me I didn't meet their requirements. So I said, "Well, what are
you looking for? I mean, how can
I train, what things do I have to learn so I can meet your
requirements?' Know what he said? 'We
are not obligated to tell you what our requirements are.'"
He isn't. That right there is the hell and headache: he doesn't
have to do anything he doesn't want
to do because he is The Man. Or he was. A lot of kids these
days are more apt to be calling the
little man--meaning not so much any member of the power
structure as just your average white
L.A. taxpayer, registered voter, property owner; employed,
stable, mortgaged and the rest.
The little man bugs these kids more The Man ever bugged their
parents. It is the little man who is
standing on their feet and in their way; he's all over the place,
and there is not much they can do
to change him or the way he feels about them. A Watts kid
knows more of what goes on inside
white heads than possibly whites do themselves; knows how
often the little man has looked at
25. him and thought, "Bad credit risk"--or "Poor learner," or
"Sexual threat," or "Welfare chiseler"--
without knowing a thing about him personally.
The natural, normal thing to want to do is hit the little man. But
what, after all, has he done?
Mile, respectable, possibly smiling, he has called you no names,
shown no weapons. Only told
you perhaps that the job was filled, the house rented.
5
With a cop it may get more dangerous, but at least it's honest.
You understand each other. Both
of you silently admitting that all the cop really has going for
him is his gun. "There was a time,"
they'll tell you "you'd say, 'Take off the badge, baby, and let's
settle it.' I mean he wouldn't, but
you'd say it. But since August, man, the way I feel, hell with the
badge--just take off that gun."
The cop does not take off that gun; the hassle stays verbal. But
this means that, besides
protecting and serving the little man, the cop also functions as
his effigy.
If he does get emotional and say something like "boy" or
"nigger," you then have the option of
cooling it or else--again this is more frequent since last August-
-calling him the name he expects
to be called, though it is understood you are not commenting in
any literal way on what goes on
between him and his mother. It is a ritual exchange, like the
26. dirty dozens.
Usually--as in the Deadwyler incident--it's the younger cop of
the pair who's more troublesome.
Most Watts kids are hip to what's going on in this rookie's head-
-the things he feels he has to
prove--as much as to the elements of the ritual. Before the cop
can say, "Let's see your I.D.," you
learn to take it out politely and say, "You want to see my I.D.?"
Naturally it will bug the cop
more the further ahead of him you can stay. It is flirting with
disaster, but it's the cop who has the
guns, so you do what you can.
You must anticipate always how the talk is going to go. It's
something you pick up quite young,
same as you learn the different species of cop: The Black and
White (named for the color scheme
of their automobiles), who are L.A. city police and in general
the least flexible; the L.A. county
sheriff's department, who style themselves more of an élite, try
to maintain a certain distance
from the public, and are less apt to harass you unless you seem
worthy; the Compton city cops,
who travel only one to a car and come on very tough, like
leaning four of you at a time up
against the wall and shaking you all down; the juvies, who ride
in unmarked Plymouths and are
cruising all over the place soon as the sun goes down, pulling
up alongside you with pleasantries
like, "Which one's buying the wine tonight?" or, "Who are you
guys planning to rob this time?"
They are kidding, of course, trying to be pals. But Watts kids,
like most, do not like being put in
with winos, or dangerous drivers or thieves, or in any bag
considered criminal or evil. Whatever
27. the cop's motives, it looks like mean and deliberate ignorance.
In the daytime, and especially with any kind of crowd, the cop's
surface style has changed some
since last August. "Time was," you'll hear, "man used to go
right in, very mean, pick maybe one
kid out of the crowd he figured was the troublemaker, try to
bust him down in front of
everybody. But now the people start yelling back, how they
don't want no more of that, all of a
sudden The Man gets very meek."
Still, however much a cop may seem to be following the order
of the day read to him every
morning about being courteous to everybody, his behavior with
a crowd will really depend as it
always has on how many of his own he can muster, and how
fast. For his Mayor, Sam Yorty, is a
great believer in the virtues of Overwhelming Force as a
solution to racial difficulties. This
approach has not gained much favor in Watts. In fact, the Mayor
of Los Angeles appears to
many Negroes to be the very incarnation of the little man:
looking out for no one but himself,
speaking always out of expediency, and never, never to be
trusted.
6
The Economic and Youth Opportunities Agency (E.Y.O.A.) is a
joint city-county "umbrella
agency" (the state used to be represented, but has dropped out)
for many projects scattered
28. around the poorer parts of L.A., and seems to be Sam Yorty's
native element, if not indeed the
flower of his consciousness. Bizarre, confused, ever in flux,
strangely ineffective, E.Y.O.A.
hardly sees a day go by without somebody resigning, or being
fired, or making an accusation, or
answering one--all of it confirming the Watts Negroes' already
sad estimate of the little man. The
Negro attitude toward E.Y.O.A. is one of clear mistrust, though
degrees of suspicion vary, from
the housewife wanting only to be left in peace and quiet, who
hopes that maybe The Man is lying
less than usual this time, to the young, active disciple of
Malcolm X who dismisses it all with a
contemptuous shrug.
"But why?" asked one white lady volunteer. "There are so many
agencies now that you can go
to, that can help you, if you'll only file your complaint."
"They don't help you." This particular kid had been put down
trying to get a job with one of the
larger defense contractors.
"Maybe not before. But it's different now."
"Now," the kid sighed, "now. See, people been hearing that
'now' for a long time, and I'm just
tired of The Man telling you, "'Now it's OK, now we mean what
we say.'"
In Watts, apparently, where no one can afford the luxury of
illusion, there is little reason to
believe that now will be any different, any better than last time.
It is perhaps a measure of the people's indifference that only 2
29. per cent of the poor in Los
Angeles turned out to elect representatives to the E.Y.O.A.
"poverty board." For a hopeless
minority on the board (7 out of 23), nobody saw much point in
voting.
Meantime, the outposts of the establishment drowse in the
bright summery smog: secretaries chat
the afternoons plaintively away about machines that will not
accept the cards they have punched
for them; white volunteers sit filing, doodling, talking on the
phones, doing any kind of busy-
work, wondering where the "clients" are; inspirational mottoes
like SMILE decorate the
beaverboard office walls along with flow charts to illustrate the
proper disposition of "cases,"
and with clippings from the slick magazines about "What Is
Emotional Maturity?"
Items like smiling and Emotional Maturity are in fact very big
with the well-adjusted, middle-
class professionals, Negro and white, who man the mimeographs
and computers of the poverty
war here. Sadly, they seem to be smiling themselves out of any
meaningful communication with
their poor. Besides a 19th-century faith that tried and true
approaches--sound counseling, good
intentions, perhaps even compassion--will set Watts straight,
they are also burdened with the
personal attitudes they bring to work with them. Their reflexes--
especially about conformity,
about failure, about violence--are predictable.
"We had a hell of a time with this one girl," a Youth Training
and Employment Project counselor
recalls. "You should have seen those hairdos of hers--piled all
30. the way up to here. And the
7
screwy outfits she'd come in with, you just wouldn't believe. We
had to take her aside and
explain to her that employers just don't go for that sort of thing.
That she'd be up against a lot of
very smooth-looking chicks, heels and stockings, conservative
hair and clothes. We finally got
her to come around."
The same goes for boys who like to wear Malcolm hats, or Afro
haircuts. The idea the
counselors push evidently is to look as much as possible like a
white applicant. Which is to say,
like a Negro job counselor or social worker. This has not been
received with much enthusiasm
among the kids it is designed to help out, and is one reason
business is so slow around the
various projects.
There is a similar difficulty among the warriors about failure.
They are in a socio-economic bag,
along with the vast majority of white Angelenos, who seem
more terrified of failure than of
death. It is difficult to see where any of them have experienced
significant defeat, or loss. If they
have, it seems to have been long rationalized away as something
else.
You are likely to hear from them wisdom on the order of: "Life
has a way of surprising us,
31. simply as a function of time. Even if all you do is stand on the
street corner and wait." Watts is
full of street corners where people stand, as they have been,
some of them, for 20 or 30 years,
without Surprise One ever having come along. Yet the poverty
warriors must believe in this form
of semimiracle, because their world and their scene cannot
accept the possibility that there may
be, after all, no surprise. But it is something Watts has always
known.
As for violence, in a pocket of reality such as Watts, violence is
never far from you: because you
are a man, because you have been put down, because for every
action there is an equal and
opposite reaction. Somehow, sometime. Yet to these innocent,
optimistic child-bureaucrats,
violence is an evil and an illness, possibly because it threatens
property and status they cannot
help cherishing.
They remember last August's riot as an outburst, a seizure. Yet
what, from the realistic viewpoint
of Watts, was so abnormal? "Man's got his foot on your neck,"
said one guy who was there,
"sooner or later you going to stop asking him to take it off."
The violence it took to get that foot
to ease up even the little it did was no surprise. Many had
predicted it. Once it got going, its
basic objective--to beat the Black and White police--seemed a
reasonable one, and was gained
the minute The Man had to send troops in. Everybody seems to
have known it. There is hardly a
person in watts now who finds it painful to talk about, or who
regrets that it happened--unless he
lost somebody.
32. But in the white culture outside, in that creepy world full of
pre-cardiac Mustang drivers who
scream insults at one another only when the windows are up; of
large corporations where
Niceguymanship is the standing order regardless of whose
executive back one may be
endeavoring to stab; of an enormous priest caste of shrinks who
counsel moderation and
compromise as the answer to all forms of hassle; among so
much well-behaved unreality, it is
next to impossible to understand how Watts may truly feel about
violence. In terms of strict
reality, violence may be a means to getting money, for example,
no more dishonest than
8
collecting exorbitant carrying charges from a customer on
relief, as white merchants here still do.
Far from a sickness, violence may be an attempt to
communicate, or to be who you really are.
"Sure I did two stretches," a kid says, "both times for fighting,
but I didn't deserve either one.
First time, the cat was bigger than I was; next time, it was two
against one, and I was the one."
But he was busted all the same, perhaps because Whitey, who
knows how to get everything he
wants, no longer has fisticuffs available as a technique, and sees
no reason why everybody
shouldn't go the Niceguy route. If you are thinking maybe there
is a virility hangup in here, too,
33. that putting a Negro into a correctional institution for fighting
is also some kind of neutering
operation, well, you might have something there, who knows?
It is, after all, in white L.A.'s interest to cool Watts any way it
can--to put the area under a siege
of persuasion; to coax the Negro poor into taking on certain
white values. Given them a little
property, and they will be less tolerant of arson; get them to go
in hock for a car or color TV, and
they'll be more likely to hold down a steady job. Some see it for
what it is--this come-on, this
false welcome, this attempt to transmogrify the reality of Watts
into the unreality of Los
Angeles. Some don't.
Watts is tough; has been able to resist the unreal. If there is any
drift away from reality, it is by
way of mythmaking. As this summer warms up, last August's
riot is being remembered less as
chaos and more as art. Some talk now of a balletic quality to it,
a coordinated and graceful
drawing of cops away from the center of the action, a scattering
of The Man's power, either with
real incidents or false alarms.
Others remember it in terms of music; through much of the
rioting seemed to run, they say, a
remarkable empathy, or whatever it is that jazz musicians feel
on certain nights; everybody
knowing what to do and when to do it without needing a word
or a signal: "You could go up to
anybody, the cats could be in the middle of burning down a
store or something, but they'd tell
you, explain very calm, just what they were doing, what they
were going to do next. And that's
34. what they'd do; man, nobody has to give orders."
Restructuring of the riot goes on in other ways. All Easter week
this year, in the spirit of the
season, there was a "Renaissance of the Arts," a kind of festival
in memory of Simon Rodia, held
at Markham Junior High, in the heart of Watts.
Along with theatrical and symphonic events, the festival also
featured a roomful of sculptures
fashioned entirely from found objects--found, symbolically
enough, and in the Simon Rodia
tradition, among the wreckage the rioting had left. Exploiting
textures of charred wood, twisted
metal, fused glass, many of the works were fine, honest
rebirths.
In one corner was this old, busted, hollow TV set with a rabbit-
ears antenna on top; inside where
its picture tube should have been, gazing out with scorched
wiring threaded like electronic ivy
among its crevices and sockets, was a human skull. The name of
the piece was "The Late, Late,
Late Show."
9
Thomas Pynchon is the author of the highly praised novel "V"
and of the recently published "The
Crying of Lot 49."