The United States versus Mexico: The Final Settlement of the Pious Fund, By Francis J. Weber. Foreword by Earl Warren. (Los Angeles: Historical Society of Southern California, 1969. Pp. 64. $10.00).

1970 ◽  
Vol 27 (1) ◽  
pp. 104-104
Author(s):  
Andrew Rolle
Keyword(s):  
United States ◽  
Los Angeles ◽  
Southern California ◽  
The United States ◽  
Historical Society ◽  
Final Settlement

Russian Artists in the United States

Experiment ◽  
2014 ◽  
Vol 20 (1) ◽  
pp. 229-259
Author(s):  
Oleg Minin
Keyword(s):  
United States ◽  
Los Angeles ◽  
San Francisco ◽  
Cultural Landscape ◽  
Southern California ◽  
The United States ◽  
The State ◽  
Critical Reception ◽  
Artistic Legacy

Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.

Filipino Festivals in Southern California

2021 ◽  
Author(s):  
Mary Talusan
Keyword(s):  
United States ◽  
Los Angeles ◽  
Cultural Values ◽  
Large Scale ◽  
Southern California ◽  
The United States ◽  
The Philippines ◽  
Filipino Americans ◽  
Folk Dance ◽  
Jose Rizal

Filipino festivals (also “Philippine festivals”) in southern California are lively, dynamic events that draw multigenerational and multicultural crowds to enjoy food, partake in traditional games and crafts, buy Filipino pride gear, and watch a variety of acts that showcase the talent and creativity of Filipino Americans. Inclusive of those who identify as immigrant, U.S.-born, and transnational, Filipinos from across the region convene to express pride and promote visibility as an overlooked and marginalized ethnic group in the United States. The first public performances by Filipinos in the United States were in exhibits curated by colonial officials at the St. Louis World’s Fair in 1904 to justify colonization of the Philippines. Presented as an uncivilized people in need of American tutelage, this stereotyping of Filipinos as primitives motivated pensionados or students from the Philippines to represent themselves; they organized Rizal Day starting in 1905, which valorized national Philippine hero José Rizal, in order to highlight their identity as modern, educated people. New immigrants, who were mostly rural, single men from the northern Philippines, arrived in the 1930s and frequented taxi dance halls in which Filipino jazz musicians and dancers flourished. Yet the established Filipino community criticized these venues as places of vice that were lacking in family and traditional cultural values. Philippine folk dances were not prevalent among Filipino Americans until after the Philippine Bayanihan Folk Dance Company appeared on the Ed Sullivan Show in 1958. Due to their influence, Filipino American folk dance troupes were established across the nation, presenting Philippine cultures through stylistically diverse dances such as the Indigenous or Tribal suite, the Muslim or “Moro” suite, and the Maria Clara or Spanish-influenced suite. Folk dance performance became a hallmark of festivals such as the Philippine Folk Festival, which has been held annually in San Diego since 1979 (renamed the Philippine Cultural Arts Festival in 1996). In Los Angeles, the Festival of Philippine Arts and Culture began in 1992, attracting thousands from around the region. These large-scale public Filipino festivals in southern California offer opportunities to gain insight into the variety of ways in which Filipino Americans creatively express a range of experiences, interests, and concerns. While folk dance troupes and traditional music ensembles such as Spanish-influenced rondalla (plucked string instruments) are most visibly tied to representations of Philippine traditions, rappers, DJs, spoken word artists, hip-hop dance crews, R&B singers, and rock bands demonstrate Filipinos’ mastery of American popular forms. With origins in community celebrations since the early 1900s, Filipino festivals of the early 21st century reflect changes and continuities in California’s Filipino communities, which have adapted to internal dynamics, larger societal forces, and engagement with the homeland of the Philippines.

scholarly journals Autochthonous Transmission of Trypanosoma Cruzi in Southern California

2016 ◽  
Vol 3 (4) ◽  
Author(s):  
Salvador Hernandez ◽  
Carmen A. Flores ◽  
Gracia M. Viana ◽  
Daniel R. Sanchez ◽  
Mahmoud I. Traina ◽  
...  
Keyword(s):  
United States ◽  
Latin America ◽  
Los Angeles ◽  
Trypanosoma Cruzi ◽  
Southern California ◽  
The United States ◽  
First Case ◽  
Vector Borne ◽  
Autochthonous Transmission ◽  
Triatomine Insects

Abstract Trypanosoma cruzi usually infects humans via triatomine insects in Latin America. Vector-borne transmission in the United States is exceedingly rare. We describe (1) the first case of probable autochthonous transmission reported in California in more than 30 years and (2) the first ever reported case in the greater Los Angeles area.

Third-World Hodgkin's disease at Los Angeles County-University of Southern California Medical Center.

1988 ◽  
Vol 6 (8) ◽  
pp. 1285-1292 ◽  
Author(s):  
E Hu ◽  
S Hufford ◽  
R Lukes ◽  
M Bernstein-Singer ◽  
G Sobel ◽  
...  
Keyword(s):  
United States ◽  
Socioeconomic Status ◽  
Los Angeles ◽  
Third World ◽  
Los Angeles County ◽  
Southern California ◽  
Medical Center ◽  
The United States ◽  
Stage Iii ◽  
University Of Southern California

The reported experience with Hodgkin's disease (HD) in the United States has come primarily from large referral centers that attract a predominantly white population of high socioeconomic status (SES). The majority of these patients had the nodular sclerosis (NS) histologic subtype and asymptomatic stage I/II disease. We have reviewed the records of 178 patients with HD seen within the past 17 years at Los Angeles County-University of Southern California Medical Center (LAC/USC), which is a nonreferral, government-operated facility. Our patient population was found to be heterogeneous, with 38% white, 22% black, and 36% Hispanic. Systemic "B" symptoms were noted in 62% of patients at diagnosis, and 63% had advanced disease (stage III or IV). NS pathologic subtype was present in only 52% of the group. Comparison between the races revealed: (1) Hispanics had a higher incidence of lymphocyte depleted subtype and less NS than whites (P less than .06); (2) whites had equal distribution between stages I/II and III/IV; (3) blacks and Hispanics presented more frequently with stage III/IV (P = .10); and (4) extranodal involvement occurred most often in bone in whites, and was equally distributed between liver, lung, and bone in blacks and Hispanics. We conclude that the lower SES, mixed racial population seen at our institution more closely resembles the reports of HD in Third-World countries and is characterized by advanced symptomatic disease. Further, the clinical pathologic characteristics of HD in the United States may vary significantly, depending upon the precise ethnic and socioeconomic status of the patients being served.

Planning Truck-Only Lanes: Emerging Lessons from the Southern California Experience

2003 ◽  
Vol 1833 (1) ◽  
pp. 73-78 ◽  
Author(s):  
Michael J. Fischer ◽  
Dike N. Ahanotu ◽  
Janine M. Waliszewski
Keyword(s):  
United States ◽  
Los Angeles ◽  
Southern California ◽  
The United States ◽  
Time Of Day ◽  
Inland Empire ◽  
Capital Costs ◽  
San Gabriel Valley ◽  
History Of ◽  
Analytical Tools

Recent efforts to develop truck-only facilities in the United States are discussed. The rationale for truck-only highways is described, and the history of efforts to separate trucks and automobiles on the nation's roadways is presented. The truck lane program of the Southern California Association of Governments is one of the most ambitious programs of its type in the United States. Preliminary analysis of truck lanes for SR-60 and I-710 is described. SR-60 is an east–west corridor linking downtown Los Angeles with the warehouse and manufacturing districts of the San Gabriel Valley and the Inland Empire. 1-710 is the major access route to the ports of Los Angeles and Long Beach. Both freeways each have one of the highest truck volumes in California, and truck mobility on these corridors is a significant problem. Truck lane projects on SR-60 and I-710 are in the feasibility analysis stage and much has been learned in these early studies. Various issues are addressed, including the trade-off between limiting access to improve operational costs and limit capital costs, need to generate demand, time-of-day distribution of truck traffic and its relationship to potentially benefit truck mobility, and need for improved analytical tools. Also described are issues related to facility design and configuration, demand analysis, and toll analysis.

The “Japanese Turn” in Fine Dining in the United States, 1980–2020

2020 ◽  
Vol 20 (2) ◽  
pp. 45-54
Author(s):  
Samuel H. Yamashita
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
San Francisco Bay Area ◽  
The United States ◽  
First Century ◽  
Further Training ◽  
Bay Area ◽  
Wide Acceptance

In the 1970s, Japanese cooks began to appear in the kitchens of nouvelle cuisine chefs in France for further training, with scores more arriving in the next decades. Paul Bocuse, Alain Chapel, Joël Robuchon, and other leading French chefs started visiting Japan to teach, cook, and sample Japanese cuisine, and ten of them eventually opened restaurants there. In the 1980s and 1990s, these chefs' frequent visits to Japan and the steady flow of Japanese stagiaires to French restaurants in Europe and the United States encouraged a series of changes that I am calling the “Japanese turn,” which found chefs at fine-dining establishments in Los Angeles, New York City, and later the San Francisco Bay Area using an ever-widening array of Japanese ingredients, employing Japanese culinary techniques, and adding Japanese dishes to their menus. By the second decade of the twenty-first century, the wide acceptance of not only Japanese ingredients and techniques but also concepts like umami (savory tastiness) and shun (seasonality) suggest that Japanese cuisine is now well known to many American chefs.

Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles

2020 ◽  
Vol 52 ◽  
pp. 127-146
Author(s):  
KRISTINA F. NIELSEN
Keyword(s):  
United States ◽  
Los Angeles ◽  
Mexican American ◽  
Historical Analysis ◽  
The United States ◽  
First Century ◽  
Ethnographic Fieldwork ◽  
Cultural Frameworks ◽  
Music Research ◽  
Siglo Xx

Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

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