scholarly journals HARBOR SURGING

2010 ◽  
Vol 1 (1) ◽  
pp. 6 ◽  
Author(s):  
Vito A. Vanoni ◽  
John H. Carr
Keyword(s):  
United States ◽  
Los Angeles ◽  
Wave Motion ◽  
Pacific Coast ◽  
Wind Waves ◽  
The United States ◽  
Geodetic Survey

Surge is the name applied to wave motion with period intermediate between that of ordinary wind waves and that of the tides; say from one to sixty minutes. An additional characteristic of surge is that it is usually of very low height; perhaps 0.3 ft. is typical. This type of wave motion has been observed along the entire Pacific coast of the United States (Coast and Geodetic Survey, 1943), and in some places, notably Los Angeles Harbor, has been of serious concern to harbor authorities.

scholarly journals REFRACTION AND DIFFRACTION DIAGRAMS

2010 ◽  
Vol 1 (1) ◽  
pp. 4 ◽  
Author(s):  
James W. Dunham
Keyword(s):  
United States ◽  
Los Angeles ◽  
Wind Waves ◽  
Academic Research ◽  
The United States ◽  
Practical Application ◽  
Corps Of Engineers ◽  
Department Of The Army

The use of diagrams to indicate the effects of refraction and diffraction of ordinary wind waves and swell in offshore areas is by no means an innovation in coastal and harbor engineering. Refraction diagrams in particular have been used in various forms by engineers in the United States and in Europe for more than a decade. The principles and procedures for constructing refraction and diffraction diagrams have been developed by academic research and investigation. The purposes of this paper are (1) to review briefly these principles and procedures, and (2) to describe their practical application by the Corps of Engineers, Los Angeles District, Department of the Army.

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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