With “Postcards,” creative non-fiction stories grounded in place, we aspire to create a new cartography of California. For us, literature and language are as much about marking and representing space, as they are about storytelling.
On a Saturday morning in late October, public workers in downtown Los Angeles block off the stretch of Broadway from Olympic Boulevard to Hill Street. Around 10 am, a crowd gathers, donned in blue and red garments, shirts embroidered with mola, white polleras with bright-colored pom-poms, or Panama flags draped across their backs, to celebrate the Annual Panamanian Independence Day Parade. Distant relatives and former neighbors spot each other and greet with air kisses on each cheek. The crowd travels with the parade down Broadway and ends with a battle of Panamanian bands at Pershing Square. By activating spaces like downtown, a small but significant, interconnected community of Black Panamanians made Los Angeles their home.
The 2018 Senior Queen of the Parade waves at attendees along Broadway in downtown Los Angeles. Photo courtesy of Ernesto Edwards.
While some have lived in Los Angeles since the 1960s, many Black Panamanian families moved to L.A. from Panama and other states such as New York, to live alongside African-Americans with roots in the American South during the 1970s and 1980s. As they sought housing in areas where other Black Panamanians already lived, a constellation of Black Panamanian families and individuals grew in South Los Angeles, North Long Beach, Watts, and Compton. Decades before they migrated to the United States, their grandparents left countries like Barbados, Jamaica, Guadeloupe, Martinique, and other Caribbean islands for Panama. Like them, they relied on family, friendship, and cultural practices.
Settling into their new city, they moved to affordable homes and several apartment complexes in Compton, including an apartment complex my mother, a canteen cashier at an aerospace company, managed. Known as “The Blvd,”because of its location on Long Beach Boulevard, one of Compton’s major thoroughfares, Black Panamanians came to occupy over half of the complex’s units. Its layout—apartments that faced each other with a communal space in the front and a walkway in the back that led to the next building—encouraged neighbors to interact and kids to play together. On Saturday mornings, music poured from every apartment: Anita Baker, Johnnie Taylor, Ruben Blades or Tabou Combo. The aroma of fried, sweet platanos and collard greens drifted between the apartments. During the summer, one neighbor sold duros, juices frozen in plastic cups, with flavors like tamarindo, ginger-infused jamaica, and, my favorite, coco, made with fresh coconut milk and shredded coconut, sweetened with cinnamon and nutmeg. If someone had a party, we all partied and feasted on delicacies such as saus (pickled pig feet with onions, cucumber, and white vinegar), chicheme (a drink made with sweetened milk, corn, and cinnamon), and Panamanian tamales (a spicy, reddish masa filled with green peas, peppers, a bone-in piece of chicken, and a prune, tripled wrapped, first in a banana leaf, then wax paper, then aluminum foil). For Nochebuena, my mother made pineapple glazed ham for everyone and rang in Navidad with the songs of Ismael Rivera, Oscar D’León, and Ruben Blades. Though the apartment’s location placed us in the cross-hairs of both gang violence and pedestrian-involved car accidents, we created spaces of joy by sharing Black Panamanian and African-American culture and resources.
On weekends, the Black Panamanian community throughout Los Angeles came together. The physical and social proximity of Compton, Watts, North Long Beach, and South Los Angeles, made it easy to gather in each others’ homes or in local, public spaces. On Saturday afternoons, a group of women, which included my mother, gallivanted to local or cross-town casinos, Compton’s Ramada Inn or Inglewood’s Hollywood Park and Casino, to play bingo. On Sundays, they headed east, out of Los Angeles County, to San Bernardino’s San Manuel Casino. If they didn’t want to drive, they got together in someone’s home, but kept the stakes high and brought their plata. The men played straight dominos in the dining room or backyard or joined the women in the living room, where you could hit on two or three in a row, before winning with the traditional five in a row. Their children commandeered the kids’ room to play video games or listen to hip-hop and dancehall music, growing hungrier as time passed before the evening’s host finished cooking rice and peas (red beans), guandú (also called gandules or gungo peas), or lentils, fried, sweet platanos, stewed chicken, and salad – potato or coleslaw. At times, food inspired the gathering, and someone prepared and sold dinners or fritura, fried finger foods such as hojaldas (a fried bread, also known as hojaldres/dras), empanadas, fried yucca, patacones (twice-fried green plantains), or carimañolas (mashed yucca filled with ground meat then fried). Whatever the occasion, we all ate and ate together.
Victor and friends outside the shop. Photo courtesy of Victor
Some Saturdays I accompanied my father to Victor’s Upholstery Shop (known to everyone simply as Victor’s shop); this meant peeking into the shop to say hello then sitting in the car for what felt like hours while my father hung out. Initially located on Washington Boulevard in L.A.’s Arlington Heights, the upholstery shop occupied the corner unit of a large, white brick building, with peeling paint, no windows, and one front metal gate. Named for its proprietor—a slim, brown Panamanian, with a gold tooth and a Caribbean accent (like many Black Panamanians), who often dressed in a natty fit and cap—Victor opened the shop in 1965 and availed his business to the local Panamanian community. For decades, the shop doubled as a communication hub and hang-out spot. If you wanted to confirm information about an event, you called Victor’s shop. If you needed to purchase pre-sale tickets for the upcoming boat cruise or dance, you could buy them at Victor’s shop. When the Panamanian dictator Manuel Noriega was ousted in 1989, the local news stations came to Victor’s shop to interview the Panamanian community. The layout of the space itself reflected its many functions. Bolts of fabric lined up like wallpaper on one wall, shelves with binders upon binders of swatches stacked on another wall, and a wide wood work table occupied the center; it sat atop a carpet of wood dust. A dim corner room, across from the work table and behind Victor’s desk, housed a large TV and chairs. The walls were plastered with posters of athletes and bikini-clad women selling alcohol. While the sounds of Victor pounding sofa upsides with a mallet echoed through the shop, the TV room rang with the raucous laughter of men who planted themselves to talk politics and bochinche (gossip) in a mix of Spanish, English, and Patois, drink rum and milk or Cerveza Panama, and watch boxing matches, especially ones that featured Panama’s pride, Roberto “Manos de Piedra” Duran. In exchange, they helped Victor make deliveries. As they aged, they gathered for potlucks and quieter moments.
Across from Victor’s shop was Jucy’s Jamaican restaurant, one of L.A.’s few sit-down Caribbean restaurants, which has operated for over thirty-five years. It serves typical Panamanian cuisine like chicken soup with dumpling, stewed meat dishes, and chicken curry. Sometimes we drove down Crenshaw to indulge in a beef patty from Stone Market. Opened in the 1970s, we first frequented Stone Market because it carried typical food items and brands that local stores did not, such as guandú peas, Malta Hatuey (a sweet, carbonated beverage), and bacalao (salted codfish). Outside, men sat on folding chairs or milk crates, talking and playing dancehall and old school reggae that you could purchase. Over time, it became a staple in the Black Panamanian community. Located next to the market is the star of the operation: a take-out, cash only, food kiosk, where dinners, patties, and, the best carrot juice I’ve ever tasted, are prepared and sold. It is a small structure, with just a kitchen and front counter, a floor fan circulating heat and noise, and a dry-erase board that displays the menu of the day. Upon entering, the smell of coconut, butter, and cinnamon from the loaves of Coco bread and bun welcomed you the way the cashier will not. What was written on the board is what they had in stock; if an item was marked out or erased, they ran out of it for the day. If it wasn’t on the board, one shouldn’t ask for it (these were the unspoken rules). When an abuelita or other keepers of the homemade bun recipe went on a cooking hiatus, families settled for purchasing buns for Easter or Christmas from Stone Market.
During summer holidays like the 4th of July, we celebrated at Scherer Park in Long Beach. Nicknamed “Parque Del Amo,” for its location off Del Amo, between Long Beach Boulevard and Atlantic Avenue, some families arrived as early as six am to claim one of the limited numbers of picnic tables, while others brought folding tables, lawn chairs, or blankets. Each family prepared meals at home and brought them to the park: cole slaw, potato salad, rice and peas or guandú, baked barbecue chicken, and even hotdogs and hamburgers. Occasionally, my father set up a fryer and sold patacones and codfish cakes. Children would go from table to table to meet-up with friends. Asking for or accepting a plate from a table other than your own was a faux paus; my mother insisted that doing so constituted begging and set the trap for a good piece of bochinche. Folks might say that your mother did not care for you properly. The Scherer Park gatherings grew in size; at one point, someone hired an official DJ and a Panamanian ballet folklórico group performed on a portable dance floor. As Panamanians began to move to cities within San Bernardino County, festivities like an annual end of the summer picnic, were held east of Los Angeles at Frank Bonelli Park in San Dimas.
Couples dance close at a Father’s Day Dance at the Shatto Banquet Hall. Photo courtesy of Ernesto Edwards.
Parties worthy of a formal venue took place at Shatto Banquet Hall, a rental hall on Slauson Avenue, which was popular among L.A.’s Louisiana Creole community. We had our own version of formal wear. For men, it consisted of a button-down blouse, silk slacks, and dress shoes with no socks. Women wore glittered or sequined body-hugging dresses, extra-high heels, and a slather of gold – gold bracelets, anklets, earrings, and necklaces with placas (name plates or plates in the shape of the Panama Isthmus) or an Ojo de Venado (a round ball/amulet wrapped in gold letters). No matter the type of jewelry, it had to be gold, as the women deemed anything else chichipatti (cheap). At Shatto Hall, I witnessed my first and only quinceñera, another second-generation Black Panamanian girl, who body rolled down the two lines of Black damas and chambelanes to Raven-Simone’s rap song “That’s What Little Girls are Made of.”
The predominant narrative about the Afro-Latinx community in L.A. claims that we suffers from isolation and are disconnected. However, it is clear that a network of Black Panamanians nurtured and created a strong sense of identity for the next generation, including myself. As an Black Panamanian in Los Angeles, I was not a anomaly. Instead, I was part of a community that held and named me.
Yet, as the places and spaces known to the community changed, so did the community. Panamanians no longer live on “The Blvd.” Encounters with violence and the lack of opportunity due to divestment and the loss of jobs once provided by large industries, pushed African-American and Black Panamanian families out of Los Angeles. Many followed the out-migration of African-Americans east, to cities like Rialto, Upland, Fontana, and Rancho Cucamonga. Folks no longer gather at Scherer Park. After decades of running his upholstery business out of Washington Boulevard, Victor had to move. This was likely a result of rising commercial rent costs and gentrification. The original location of Victor’s shop is now an art gallery. He retired soon after his shop relocated. Jucy’s and Stone Market have managed to weather the changes and will perhaps benefit from the planned Crenshaw light rail running next to Stone Market. 
The entire building has experienced a transformation, with new tenants replacing old ones
While many families moved out of L.A. County, some families, including my own, remained. We moved from Compton to Long Beach, and finally, to Watts. My family arrived to these places without the community that once enriched us and made these places home. I long for that community –my mother does too. Now, as a mother, I desire for my children to experience the affirmation that I did growing up in a Black Panamanian Los Angeles. Yet, in the face of change, we remain resourceful and look to the past for guidance. As the child of migrants, I am able to do things that my parents were not able to: I can take my children to Panama. I can take them to the annual parade, the place where we still gather, and introduce them to our neighbors from “The Blvd” and our friends like Victor. Those of us who grew up nurtured by this community of Black Panamanians, and those who are just discovering it, know that in any place we gather, we are our own multitude.
Jenise Miller is an urban planner and poet. She is the great-granddaughter of Black Panama Canal builders and a native of Compton and Watts. A recent Voices of Our Nations Arts (VONA) fellow, her poems have been featured in The Acentos Review, Dryland Literary Journal, and Cultural Weekly. She received her M.A. in Urban Planning from UCLA and B.A. in Black Studies and Sociology from UC Santa Barbara. She lives in Compton with her family. You can find her on Twitter @jenisepalante and www.plannerpoet.com.
California Citrus State Historic Park Visitor’s Center, Riverside
Elisabet Barrios Mateo
I grew up surrounded by a vast agricultural landscape in California. I never questioned the orchards’ beauty, or the sweetness of the apricots and cherries it bore. InCollisions at the Crossroads: How Place and Mobility Make Race, Genevieve Carpio peels back the history of the “Citrus Belt” in Southern California to reveal its unsettling past.
Reading Collisions at the Crossroads is like holding a hundred-dollar bill to a light and seeing its racial watermarks with a naked-eye. Through a deep analysis of literature, newspaper articles, maps, and legal and congressional records, Carpio exposes the many symbols of white supremacy embedded within these artifacts. She unapologetically argues that racial logics have been used to produce inequality via laws, regional policies, and cultural narratives in the United States.
With this book, readers will come to comprehend a dynamic portrait of how World War I and II, Dust Bowl migration, and the emergence of the automobile industry replicated the same racial hierarchies that nourished the Citrus Belt. It is a captivating read that weaves together athleticism, Steinbeck’s Grapes of Wrath, and Route 66 in eye-opening ways. Her argument of spatial mobility as a human right, powerfully contributes to the debate on whether or not race produces inequality beyond economic stratifications. The first two chapters come to expose how land rights favored white settlers, and how they leveraged citizenship and belonging through historical myths. The middle three chapters transition to uncover how economic and cultural disadvantages were produced through immigration laws, policing, and housing segregation that targeted racial minorities. The final chapter concludes by connecting to past and present debates on U.S. identity and belonging.
Carpio uses racial triangulation throughout her book to unpack race as a relative construct. Like Natalia Molina in How Race is Made in America: Immigration, Citizenship and the Historical Power of Racial Scripts, Carpio argues that racial narratives are relational. Covering a longer time-period, she examines how Indigenous, Chinese, Japanese, Filipino, Puerto Rican, and Mexican communities were hierarchically positioned and selectively framed over the twentieth- century. White farmers entered the national debate on the Immigration Bill of 1924 to juxtapose Mexican, Puerto Rican, and Filipino workers to serve their economic interests while strategically framing people from all three groups as supposed threats to the Anglo racial landscape.
Carpio makes a resounding argument of mobility as a human right that cannot be divorced from the educational, residential, and economic outcomes that social scientists examine. She connects us to the past by drawing and expanding on old academic boundaries, while charting a new path for contemporary scholars and political leaders. Her book is a liberating piece that sheds light on the mechanisms through which non-white Americans have been excluded from full citizenship and belonging. It demonstrates the power of lies, storytelling, and the potential for reclaiming space through a collective narrative.
To varying degrees, each chapter provides evidence that communities of color have fought mobility constraints, which leads her to focus on resistance within legal and social institutions. Unfortunately, this leaves informal avenues of resistance unexamined. And yet we know that from common practices today, these informal avenues were likely also engaging spaces of resistance. For instance, contemporary undocumented immigrant communities use real-time communication chains to organize around police checkpoints and immigration raids. What might such informal strategies have looked like during the period Carpio examines? These could be crucial to understanding how non-white communities shift boundaries around physical and social spaces throughout everyday life.
Carpio’s book is a noteworthy contribution to our historical and present-day understanding of how racial hierarchies are used to curtail the rights and privileges of communities of color. She invites readers to learn about their not-so-distant past, while provoking them to reflect on the lies readers have imbibed and internalized. Reading a bit like a local version of Howard Zinn’s, A People’s History of the United States, her writing poetically uncovers racial inequalities in the legal system, while simultaneously portraying a dynamic human experience. By the end of the book, the reader can hear echoes of the narratives used to forge the Citrus Belt in the political discourse under the Trump administration.
Elisabet Barrios Mateo is a doctoral student in Sociology at the University of California, Irvine. Her research focuses on the ways federal law and state policy shape the sense of belonging for young immigrants in United States. She also writes poetry about social justice, the immigrant experience, and love.
In Queer Space: Architecture and Same Sex Desire, Aaron Betsky writes, “The queerest space of all is the void, and AIDS has made us live in that emptiness, that absence, that loss…. It is not a queer space any of us would want to inhabit, but many have been forced to make it their own.” In many ways, Danny Jauregui’s work goes beyond just inhabiting the void, that queer space separate from society. It is about identifying it, reclaiming it, and giving it a permanent spatial location in the decades following the crisis. People cruised within communities, within neighborhoods, at local parks, bars, and shops. A single location can be so many places at once.
“I wanted to show that these locations once existed here,” he says.
The photos used in the artist Danny Jauregui’s project document a history that generations of young gay men might not be familiar with. Chronicling these sites then became a way for Jauregui to recover and graft the memory of gay cruising into the larger sphere of American identity and assemblage. The images are a stark reminder of the transient nature of cruising, allowing for a uniquely queer identity to integrate itself into the very tapestry of the history of Los Angeles.
I wanted to show that these locations once existed here.
I met Jauregui on an overcast mid-May morning at La Monarca Bakery on Cesar Chavez Boulevard in Boyle Heights. Danny is a charming and affable man almost a decade younger than me. He’s made a name for himself as an artist whose work encompasses many different media including photography, drawing, and sculpture. The son of immigrants from the state of Jalisco, Mexico, he grew up in South Central L.A. before his family moved to Whittier. Like me, Danny is an artist and academic; he teaches art and photography at Whittier College. Like me, he’s Latino. Like me, he is gay and in a long and stable relationship with a partner. Like me, he spent the past academic year chairing his department. Over sips of piping hot coffee, we commiserate over the challenges—and, yes, the rewards—of serving as heads of our respective units. We share a great deal in common, and I find it comforting to be sitting down and having an enlightening conversation about art and activism and the pressures of academic life with someone so similar to me.
“My brother was a trouble maker when we were growing up,” he says. “My parents decided to pour all their energies into making sure I wasn’t. They indulged my curiosity. If I was into something, they got it for me. When I was interested in art, my father went out and bought me colored pencils and a sketchbook.”
Danny’s work first came to my attention when I ran across an article featuring him and a project he had undertaken to map the cruising sites and locations around the city using Bob Damron’s Address Book as guidepost. When I ask what led him to put the two together, he smiles.
“I was living in Silverlake with my partner during the whole Proposition 8 battle,” he explains.
“Prop 8,” as it was more commonly known, was a statewide ballot aimed at eliminating same-sex marriage in California. The measure eventually passed, with 52.3% of the population voting not to protect the rights of gay couples to marry. The “No on 8” campaign had rented out a building where a local gay bathhouse once stood. When Danny discovered this, it became the impetus for his work. It was such an ironic thing, he recalls, that the headquarters of a grassroots effort to secure the right for same-sex couples to marry had its office in what was once a place where men flocked to meet and have sex in public. In the 70s we’d gained our sexual liberation. We were free to have sex with whomever, whenever, and (pretty much) wherever we wanted. But 80s and 90s brought AIDS, cutting short the party, forcing so many to rethink such “hedonistic” lifestyle choices. Now, in the aftermath of so much loss, many who remained craved marriage and monogamy—grand symbols of heteronormativity. For his part, Danny also embarked on a project that resulted in a map-based documentary of Damron’s Address Book. In doing so, Danny’s work investigated the spatial memory of gay cruising sites, of connection and intimacy that once played out in these locations—spaces no longer in use for that purpose, but also not completely erased either. They exist as reminders of an era of sexual liberation both before and during the AIDS crisis.
Danny explained that his work aims to preserve and document these sites as places of community building, where gay men once upon a time forged bonds and created a sense of shared belonging through the most intimate and secretive of acts. “I’m interested to know then if cruising is the result of a closeted culture?” he says. “Or another means of maintaining the integrity of a subculture that is uniquely our own.”
A good friend once told me that the only time he ever felt truly alive was when he was out cruising. At the time he carried what he jokingly called a “roadside hazard kit” in his car that contained towels, condoms, bottles of lube, poppers, and a few worn out porno magazines (back before porn could be streamed on a smartphone).
“I’d spend hours driving around in my car,” he recalled, with a reverence that was almost spiritual. “I’d get lost in the whole ritual of it.”
Once he watched as cops arrested a man in a park bathroom. But that never stopped him. It worked to heighten the arousal, he said. It provided a thrill that he felt was otherwise missing in his life. His preferred spot to cruise was Griffith Park.
Author John Rechy situates Griffith Park in several of his novels like City of Night and Numbers. In the latter, handsome and charismatic Johnny Rio has come to Los Angeles after years in Texas. Faced with the certain reality that his age is catching up to him, Johnny returns to his former haunt, a place of past conquests, for ten days of sex before his beauty and looks fade away forever. Upon reaching the park, Rechy writes: “[It] is much vaster than Johnny expected. It sprawls over several thousand acres—threatening to spill out into Los Angeles, Hollywood, Glendale, invading even the sky; its various roads spiral up hills high above the city.”
Here, the space of cruising sprawls, opens up, invades, and ruptures the larger environs. It interrupts the space contained by artificial impediments. The writer, like singer George Michael, arrested in a Beverly Hills park bathroom, brazenly calls attention to the location as a site of sexual exchanges that exist within the larger mesh of American culture. But this is a site that operates outside the boundary, a site that challenges greater notions of exchange and connection. He writes, “The branches of so many trees droop so thickly here that the sun filters through only in tiny shifting sequin points and jagged patches.
Perhaps Johnny’s fading good looks, his various exploits, and his frenzied attempts to recapture the glory days of his cruising jaunts could be seen as a commentary on the threats posed on this rare and little-known ecosystem. And like many delicate ecosystems, perhaps Rechy is making a commentary on the fading phenomenon surrounding such places as married couples with kids and dogs push in and the vast clearings that pocket the park, canopied by trees, go from being prime cruising spots to places for cyclists and joggers.
A 1997 L.A. Times article titled “Neighbors Tackle Gay Cruising” tells of neighbors, both newly arrived and longstanding, getting sick and tired of the cruising scene in the areas around Griffith Park. “In the enduring subculture of men cruising for sex with other men, a few pleasant residential blocks of Griffith Park Boulevard had become hot. A nearby sex club had drawn crowds, as did the boulevard’s mention in gay guides” the article reported. The crackdown led to undercover police stings and road signs that read
TWO TIMES PAST SAME
POINT WITHIN 6 HOURS
Back in 2011 the Los Angeles city council unanimously voted to have the signs removed claiming them to be pointless and offensive. And though this might initially seem like a progressive and bold step on behalf of residents, one that looks to embrace the long history of homosexuality and gay cruising in the community, it’s actually not. The establishments that once attracted such activities have all packed up, replaced by pressed juice bars and yoga studios. “Today, residents say those type of clubs have closed and the neighborhood has changed. They believe the signs ‘stigmatize’ and embarrass the neighborhood,” one website stated.
Begun by visual artist Carlos Motta and writer and dramaturge Joshua Lubin-Levy, Petit Mort: Recollections of a Queer Public is a visual art project that charts the experiences of gay men cruising around New York City. Each account presents detailed drawings by men and brief accounts of their experiences. Deeply personal and culturally significant, these accounts draw strong links between gay subculture and public spaces. Extending beyond the engaged sexual encounters, their project reinforced the idea of cruising as not just a frivolous act, but one with deep political roots, recognizing the foundation of resistant and sexual liberation in the gay community by giving permanence and legitimacy to these spaces in their art. The culture of gay cruising is threatened by gentrification, laws that limit such behaviors, and an overall stigma associated with sex in public. As the makeup of neighborhoods change, the secret cruising goldmines that once existed are slowly being converted or threatened with extinction.
In Los Angeles, Pershing Square was the central locus of gay cruising and hustling in the decades prior to the crisis. A central location in what was known as “The Run” from the 1920s to the 1960s, Pershing Square was the anchor around which gay men could cruise and visit friendly locales like the bathrooms at the Central Library and the Subway Terminal Building, and bars like the one in the Biltmore Hotel.
Many of these places have since vanished and, though remnants of the physical locations might remain—the restroom of a local park, a building that once housed one of the most popular sex clubs in Silverlake, a seedy adult bookstore now fallen into disrepair over the years—they are but subtle traces of what used to be. Finding new cruising hotspots is a little easier now with smartphones equipped with geolocation features, websites, and apps. As these new modes of communication become more ubiquitous, the line between privacy and intimacy also blurs. And given the rise of gentrification in certain regions of Los Angeles as well as other metropolitan cities, the factors that threaten the subculture of cruising come not only from AIDS and other STDs, but also from a long string of new pressures.
Alex Espinoza earned his MFA in Fiction from UC Irvine and holds the Tomás Rivera Endowed Chair in Creative Writing at UC Riverside. He’s the author of the novels Still Water Saints and The Five Acts of Diego León, both from Random House. His newest book is Cruising: An Intimate History of a Radical Pastime (Unnamed Press, June 2019). He has written for the Los Angeles Times, the New York Times Magazine, Virginia Quarterly Review, and NPR’s All Things Considered. The recipient of a fellowship in prose from the NEA and an American Book Award from the Before Columbus Foundation, he lives and teaches in Los Angeles and is completing a new novel. www.alexespinoza.com
Essential Los Angeles: Revisiting the Automobile (Eric Avila)
Just when we thought we knew everything about Los Angeles and the automobile, Genevieve Carpio delivers Collisions at the Crossroads, not just a model of rigorous, empirically-driven, theoretically sophisticated scholarship, but a critical intervention into a canonical body of knowledge that explains the enduring love affair between Angelenos and their automobiles. The story is familiar: Los Angeles grew up with the automobile. Its vast expanse of flat arid land—partitioned by mountains, arroyos, and rivers—provided an ideal setting for the mass adoption of the automobile during the early decades of the twentieth century. Even in the depths of the Great Depression, southern Californians purchased automobiles in record numbers, creating an impetus for the construction of new streets, boulevards, and highways. These arteries and the cars they served fattened the coffers of oil, rubber, glass, steel, trucking, and construction companies, and furthered the sprawling, decentralized pattern of urban development that typified a broader pattern of ‘sunbelt’ urbanism.
This history became the basis of a full-blown myth about Los Angeles as ‘Autopia,’ penned by a British expat who roamed the L.A. grid in a convertible Mustang in the swinging Sixties. First published in 1971, Reyner Banham’s Los Angeles: The Architecture of Four Ecologies generated a new appreciation of Los Angeles, furthering a broader ‘postmodern’ sensibility that drew inspiration from the commercial landscapes of a car-oriented, hyper-consumer society. Much in the same vein as contemporary artists working in the Pop aesthetic (think Andy Warhol, Ed Ruscha, and David Hockney, another British expat in L.A.), Banham recognized the centrality of the automobile in a new suburban way of life unfolding in southern California. To him, the automobile symbolized mobility, autonomy, convenience, and free choice—the attributes of a consumer society and the underlying values of a new model of democratic urbanism. Banham thought little of recent conflagrations like Watts, which he dismissed as a “fashionable venue for confrontations.” Instead, he saluted the automobile and its role in making a city where “all parts are equal and equally accessible from all other parts at once,” concluding that “freedom of movement is the prime symbolic attribute of the Angel City.” Yet in challenging these accounts of L.A.’s autopia that assert a universal mobile subject, Carpio reminds us of the divergent claims to mobility by diverse groups who navigated the metropolitan landscape and their racial positions within it.
Banham and his predecessors had important insights about the automobile and its impact upon Los Angeles’s development. Their narrative makes important contributions to understanding why Los Angeles is the way it is and why the city “bleeds” (as Carpio evocatively puts it) into its hinterlands. Her book Collision at the Crossroads tells a different story about the automobile, and about spatial movement more broadly, reminding us that the old story is dated for its failure to address issues of inequality, immobility, and injustice—issues that L.A. historians can no longer ignore.
Workers and their Cars.
Washing a Car.
In the two centuries of its relatively brief existence, Los Angeles sustains (thanks to a recent generation of historians who align with social justice movements) a not-so-hidden history of violence, oppression, and injustice, but also of resilience, struggle, accommodation, hybridity, and mestizaje or mixed-races. The city’s track record of mob violence and racial uprisings, not to mention its history of mass incarceration and police brutality, forces a need to rethink both the city and the technology that made it, including the car, but also emergent forms of police enforcement, public policies aimed at diverse movers, innovative strategies to navigate metropolitan space by the aggrieved, and claims to the right to mobility. In Collisions at the Crossroads, Carpio tells this story from the vantage point of inland southern California, where claims to mobility have been complex and always contestable. The automobile made Greater Los Angeles, as did streetcars and railroads in their day, but its arrival and accommodation benefitted some groups of people at the expense of others.
As with many technological advancements, white men usurp the privileges they afford themselves and deny those same benefits to everyone else (with some brilliant exceptions). This includes the automobile, one of the most consequential inventions in human history. Not just the automobile as object, but especially its meaning as a symbol: the promise of unfettered mobility, autonomous movement, and mastery over time and space at high speeds on the open highway. Reyner Banham exalted these qualities and rightly expressed their seemingly universal appeal (at least in his time). So many of us love the automobile: we wash their bodies, clean their engines, quench their thirst for oil, air, water, and gasoline, polish their glass and chrome, register their possession with state authorities, insure them against damage and destruction—we eat, drink, argue, bond, and think thoughts in automobiles. We love these damn things so much that those of us written out of autopia’s dominant scripts—women, people of color, immigrants—forget that we often relinquish our autonomy, will, even safety, by surrendering to the automobile’s allure.
What Banham and other apologists for the automobile also ignore is a counterstory of how the automobile became a powerful tool of state surveillance and discipline. As demonstrated in the larger chapter from which the excerpt to follow draws, the car’s pleasures are accorded selectively by a repressive police force that incorporated the automobile into its arsenal, enabling new forms of enforcement in which they could “invoke the eyes of fellow police cruisers over the radio, track car owners through vehicle registration, and erect traffic checkpoints to distinguish criminals from the law-abiding mobile public.”
LAPD Classic Cruiser, 1958.
Watts Riots, 1965.
Carpio’s work provides early insights into emerging forms of state surveillance that would mature into the postwar period. During the 1950s and under the leadership of Los Angeles Police Chief William Parker, local law enforcement invented the squad car, equipped with short-band radios, sirens, rifles, shotguns, spotlights, and powerful engines. Parker revolutionized law enforcement in an age of mass suburbanization, effecting greater control over disparate working class Black and Latino communities that took shape throughout the five-county urban region. The police arrest of Marquette Frye, who was pulled over on a hot summer day in early August 1965, illustrated the lethal consequences of ‘driving while black.’ His arrest sparked the Watts Riots, the most violent episode of urban racial violence during the mid-1960s, resulting in thirty-four deaths and hundreds of millions of dollars in property damage.
Chief Parker realized the automobile’s potential on a new highway system that took shape during his tenure. During the 1950s and 1960s, federal money poured into the construction of a massive highway system, linking disparate suburban communities to the historic core of Los Angeles. Orange County now linked to the San Fernando Valley, and they had new links to the inland communities of Claremont, Pomona, and Ontario. This sprawling network of freeways converged just east of the downtown core, in the neighborhood of Boyle Heights, which bore the brunt of state and federal highway construction projects. Today, Boyle Heights stands at the center of L.A.’s expansive freeway system, quarantined from the rest of the city by massive highway interchanges built in conjunction with slum clearance efforts. A redlined neighborhood since the 1930s, Boyle Heights earned the official distinction of being “hopelessly heterogeneous” by the Homeowners’ Loan Corporation, identified as “an ideal site for a massive slum clearance project” which turned out to be two massive highway interchanges, built less than two miles apart from each other in the late 1950s.
In this deracinated landscape, ravaged by white flight and highway construction; in the shadows and din of new freeway interchanges, a new ‘Chicano’ culture took shape, a hybrid mix of Mexican cultural traditions, shaped by the cosmopolitan influences of a polyglot, glamorous, and dangerous society. Zoot Suits came from Boyle Heights, murals too, and lowriders, which fashioned an alternative car culture that had nothing to do with the very qualities of speed and mobility that Banham celebrated. They embraced ‘low and slow’ as their aesthetic, indulging in a new suburban pleasure that drew upon urban traditions of showmanship and technological mastery, and gave a big middle finger to the ideals of efficiency, speed, mobility, and productivity built into the object and symbol of the automobile itself. Lowriders were not 9-to-5 commuters and they re-fashioned these machines for their own sensory and aesthetic pleasure. Their spatial claims evoked strong responses from the viewing public and local authorities, contests that Carpio argues have continued to play out over symbolic landscapes like Route 66. Lowriders chose boulevards over freeways as the primary venue for their motorized brand of chrome-polish swagger, and enthralled sidewalk spectators who marveled at these machines. Are lowriders the victims of a ‘false consciousness’ sponsored by a corporate-consumer car culture? Or are they subversive agents of a technological counterculture? Drawing on the history of contested claims to mobility appearing across the twentieth century, Collisions at the Crossroads suggests the latter.
Today, we stand at another crossroad. Like most every aspect of technological modernity, the automobile is a blessing and a curse. It remains the dominant mode of transportation in the southland, yet its false premise of unfettered, autonomous mobility seems to have hit a wall of its own making. We Angelenos suffer from a chronic addiction to oil and gasoline. Too many people, too many cars: the concept of rush hour is obsolete. Every hour is rush hour; traffic is at a standstill on most freeway arteries, at most times of the day. Although new systems of mass transit are providing alternatives to the automobile and the freeway, there is little relief from the congestion and pollution that cars inflict upon our daily lives. Like red meat, our insatiable appetite for oil accelerates global warming, sparking what will become a desperate search for new alternatives to fossil fuels. Whether or not the automobile will remain the dominant mode of transportation in the region depends upon a clear-eyed assessment of its costs and benefits. Carpio implicates that machine in a broader history of racial and class inequality that now poses an existential threat to the survival of the species.
The Automobile in Mexican Immigrant and Mexican American Life (Genevieve Carpio)
By World War I, the automobile was already an integral part of life for Mexican agricultural workers in Southern California. Prominent citrus ranchers provided laborers garages alongside bathrooms, running water, electricity, and other utilities they deemed fundamental to worker housing. As described by Archibald Shamel, a USDA scientist who wrote extensively on Mexican citrus workers, “[the automobile is] an essential part of the household equipment.” Local cooperative associations occasionally provided vehicles for their workers, but more often than not individual pickers and their families purchased their own. Like the Japanese bicyclists who preceded them, Mexican motorists used vehicles to maximize their work opportunities, and for fashioning themselves as modern citizens. Although at the national level cars at that time were largely owned by the white middle class, for use in leisure activities like tourism and cross-country travel, in the Mexican communities of Southern California automobiles were a working class item used to traverse uncertain economic and social landscapes.
Disrupting national trends that linked whiteness and driving, period sources suggest that ethnic Mexicans owned automobiles at far higher rates than the Southern California population as a whole. A 1933 Heller Committee cost of living study, by the University of California, sheds light on patterns of automotive proprietorship, expense, and usage. In a survey of a hundred Mexican-descent families living in San Diego, the Heller Committee found twenty-six percent of households owned and operated their own automobile. A similar survey taken in San Fernando, about thirty miles north of Los Angeles, found that nearly forty percent of families residing in the “Mexican district” owned a vehicle. These figures are particularly significant when we consider that the automobile ownership rate in California as a whole was only seventeen percent, about half of the rate for the Mexican communities of San Diego and San Fernando.
Far from elite toys of the rich, automobiles were regularly a necessity for Mexican laborers. Only two percent of the vehicles counted in the Heller study had been purchased new. Rather, families typically bought their cars and trucks secondhand, often as an essential expense. Purchasing a vehicle was a financial hardship that required cutting back elsewhere, sometimes even on food. Nevertheless, for their drivers, automobiles’ economic and cultural value exceeded their costs. Mexican respondents reported they used their vehicles for a variety of functions, including searching for work in surrounding towns, informal outings, and travel to family events.
Joe Hernandez (third from left) and crew on work truck, 1938. Courtesy of Inland Mexican Heritage.
Car and truck ownership often translated into direct economic gains for Citrus Belt workers. Groves were spread throughout the region and laborers commonly lived in towns adjacent to large farms, moving among them as the crops matured. Families who owned automobiles could leverage this location gap between housing and the groves to earn extra income. Former citrus worker Howard Herrera remembered, “In those days you had to pay for your ride. Sometimes the house would pay it. If the house would hire a truck to take the crew to work they’d pay the driver for all the heads that would drive and arrive in the truck.” By transporting their neighbors to the fields, truck owners not only solved the problem of spatial dissonance, but also identified workers for the citrus cooperative in exchange for pay. In these roles, they served as recruiters, translators, and transporters. Women were often key in the relative success of these efforts. The son of one citrus foreman recalls that his mother provided warm lunches for riders as extra incentive to choose his father’s crew over others. For these services, Mexican families were financially rewarded, receiving a small payment for each rider or a portion of the profits from the harvest.
If Mexican motorists could increase their wages by providing a vital service to ranchers, their automobility could also be used to challenge employers’ control over workers’ livelihoods. Mobility enabled Mexican-descent workers to determine which employment opportunities—agricultural or otherwise—offered the most competitive wages. Those with access to private vehicles identified opportunities at a range much larger than previously possible, aided by a growing network of roads, their ability to carry multiple passengers, and the incentive of hauling cargo for additional payment. While vehicles widened the geographic scale and types of employment available to Mexican drivers, vehicles were also beneficial in times of collective action. Even if primarily used for daily transportation, a truck could moonlight as a mobile picket line, stage for mobile theater, or emergency shelter. During times of direct action, vehicles helped to galvanize workers and prolonged their ability to strike. In this sense, automobility could quite directly contribute to the collective’s economic mobility.
Automotive culture permeated not only the lives of those who moved, but also those in the communities that were passed. The largely Mexican Westside of San Bernardino is exemplary of this synergism. Later designated as Route 66, Mount Vernon Avenue provided residents with entrepreneurial opportunities to offer services to long distance travelers, such as managing motels, bars, gas stations, and restaurants. Consider Mitla Café. In 1927, its owners, Lucia and Salvador Rodríguez, migrated to California, and soon after this Lucia opened a small taco stand. The side business grew into a local landmark where the Rodríguez family catered to Mount Vernon residents, including workers from the nearby Santa Fe railroad repair shop, and passing motorists looking for something warm and affordable to eat. A combination of its location on Highway 66, its homey atmosphere, and foremost its Cal-Mex cuisine even earned Mitla Café a mention in the popular Duncan Hines travel culinary guide, Adventures in Good Eating. Business leaders along the busy Highway 66 corridor often became community leaders and their businesses popular sites of community organization and place making.
In addition to their economic value, vehicles held an important symbolic role for their drivers. Analysis of photographs collected by grassroots recovery efforts, such as Inland Mexican Heritage (IMH), further sheds light on the cultural significance of vehicles in Mexican agricultural communities. Looking to these personal family records adds a new perspective to those of the period’s social worker reports, which erroneously equated Mexican automotive practice with those of white middle class families. In public events held by IMH throughout the 1990s and 2000s, residents of former citrus communities near San Bernardino were invited to contribute family photographs and oral histories as part of a recovery project focused on Mexican American communities. Among cherished images of weddings, returning veterans, and family gatherings, residents frequently submitted family portraits in which cars and trucks figured as prominent features of the image.
Unlike government or professional photographs from this period, examining the function of automobiles within these self-selected compositions helps reveal the ways Mexican American people themselves positioned vehicles in their everyday lives. While members of the family and their friends occupy the focal point, they were often staged in the photographs sitting or standing on vehicles. On the one hand, this positioning points towards the frequent presence of automobiles in Mexican American life, which were conveniently present during both special family events and mundane daily passings. On the other, the frequent appearance of cars as a central part of the photographs’ compositions underscores the subjects’ desires to craft particular self-identities. Automobiles represented more than vehicles for travel. Rather, they held distinct social significance for those involved at the moment of a photograph’s creation. Where a group of youth dressed in their best outfits and standing in front of a car might represent the subjects’ identity as a modern subject immersed in leisure culture, workers posing with a truck filled with boxes of oranges could emphasize a strong work ethic, upward mobility, or traditional links between masculinity and labor. Historian Phil Deloria has examined the ways images of both American Indians and automobiles have been used by non-Indians to signify important elements in American culture. When brought together, these signifiers have conjured a “palpable disconnection between the high-tech automotive world and the primitivism that so often clings to the figure of the Indian.” Where automobiles seemed anachronistic or unmerited when driven by nonwhites, photographs produced by Mexican American drivers were all the more powerful for the ways they disrupted normative expectations and bolstered self-representation in complex ways.
Jessie Ortiz and friend posing on fender of car near San Timoteo Canyon, 1928. Courtesy of Inland Mexican Heritage.
Where photographic records help to uncover symbolic systems attached to vehicles by multigenerational Mexican American populations, songs emerge as an archive of the meanings produced by Mexican immigrants. Corridos—poetry set to music—are cultural artifacts that archive artistic expressions of daily life. In these songs, vehicles held an important symbolic role in conveying immigrants’ experiences in the United States. As described by Mexican anthropologist Manuel Gamio, Mexican rates of vehicle ownership grew markedly among immigrants who had worked for a period in the United States. A close reading of popular corridos collected by Gamio and reprinted by the Social Science Research Council in the 1920s uncovers an ambivalent attitude among Mexican immigrants towards cars—and by extension, an ambivalent attitude towards U.S. life in general.
A consistent note among corridos was nostalgia for life in Mexico, and the internal tensions generated among immigrants when pursuing American economic mobility. The lyrics of “El Dónde Yo Nací,” for example, use the car to signify dissatisfaction with U.S. consumer culture. The protagonist sings:
No me gusta coche ni autómovil
como al estilo de por aquí.
A mi me gusta carreta de bueyes
como en el rancho dónde yo nací.
(I do not care for the cars or the automobiles
like those found around here.
I prefer the oxcart
like on the ranch where I was born.)
In this instance, the singer rejects the extravagant automobiles he views in the United States in favor of an old oxcart he owned in rural Mexico. At a literal level, his dissatisfaction indicates the singer’s longing for the ranch where he was born, land owned by his family and free from the empty consumerism he observes in the United States. Seemingly nationalistic, the singer’s nostalgia may also be read as a critique of political changes in Mexico, where privatization drastically transformed the countryside and large agricultural operations displaced many of the migrants. Dispossession pushed them to seek work in the United States.
In a variation of this critique, another corrido titled “El Renegado” focused its criticism on Mexican immigrants seduced by U.S. markers of social status. The automobile in this corrido signals an immigrant who, upon gaining some profit, looks down upon his fellow countrymen who have not adopted a U.S. lifestyle. The ballad disapproves of the renegade’s “dandy” attire and his conceit when driving a flashy car, “andas por hay luciendo gran autómovil.” Where the driver seeks attention by wielding control over the ultimate symbol of social mobility, the singer critiques this ostentatious display of wealth. The song discredits those immigrants who would negate their homeland and working class origins. In both “El Dónde Yo Nací” and “El Renegado,” the automobile represents a U.S. lifestyle that stands in opposition to a Mexico envisioned as rural, homeland, and anticapitalistic.
Roque Family and their car, 1930s. Courtesy of Inland Mexican Heritage.
Looking to these creative expressions of Mexican immigrant life helps reveal illicit uses of automobiles unaccounted for in most oral histories. Further, they recast as autonomous subjects the drivers who might otherwise be considered deviant. For instance, the car is often described with fondness for the freedom it offers its driver. “El Fotingo,” which can be loosely translated as “The Jalopy,” is one such example. Although the jalopy is worn down and without seats, doors, or even lights, the song’s lyrics recall moonlit nights when the driver’s speeding Ford could be mistaken for a Willys-Overland. Where the old Ford represented economy and utility, the Overland had relatively more luxurious associations. By playing with the symbolic systems attached to the two models, the driver himself seems transformed in the moonlight from a worn-down laborer to a playboy bootlegger. The singer proudly describes flirting with women, smoking marijuana, and evading U.S. custom’s officers while smuggling liquor across the border. The mobility enabled by his vehicle is a fitting metaphor for the intersections between Mexican and American life, particularly as the increasing ease of automobility blurred the boundaries between the two, just as migrating bodies and smuggled booze could disrupt the apparent solidity of national boundaries.
Rising automobile registration rates in Mexico rose with Mexican American and Mexican immigrant vehicle ownership in the United States. Before 1910, there were no more than 3,000 vehicles registered across the Mexican nation. This quickly changed when Francisco Madero replaced Porfirio Díaz as president of Mexico in 1911. Fifteen years after abolishing a prohibitive tax on automobile ownership, registration increased from half a million to 17.5 million. A continuing rise in vehicle registration was fostered by the arrival of the Ford Motor Company in Mexico City in 1925 and the construction of a vast new factory in 1932.
Migration between the United States and Mexico further contributed to the growth of automotive ownership among ethnic Mexicans on both sides of the border. In December 1926, Mexico exempted repatriates from paying duty on U.S. items, including vehicles. Upon their return, thirty-eight percent of all repatriates owned an automobile. The widespread resale economy in Mexican border towns may have further boosted Mexican Americans’ ability to purchase low-cost Fords, creating a synergy between automotive manufacturing and policies in Mexico as well as Mexican Americans’ automobility in the United States.
Surveys, oral histories, photographs, and corridos each provide insight into the internal significance of automobiles for Mexican Americans and Mexican immigrants living in the United States. Vehicles were significant for increasing one’s economic mobility, and served as important social symbols used in self-fashioning as well as lyrical devices used to describe immigrant life in Mexican America. Focusing on reports by social scientists and others begins to reveal more of the external values placed on Mexican mobility at the economic crossroads of the 1920s and the Great Depression—an important background for understanding how we got where we are today with the Automobile and Mexican American life.
 Scott L. Bottles, Los Angeles and the Automobile: The Making of the Modern City (Berkeley: University of California Press,1987); Richard Longstreth, City Center to Regional Mall: Architecture, the Automobile, and Retailing in Los Angeles, 1920-1950 (Boston: MIT Press, 1997); Jeremiah Axelrod, Inventing Autopia: Envisioning the Modern Metropolis in Jazz Age Los Angeles (Berkeley: University of California Press, 2009); David Brodsly, L.A. Freeway: An Appreciative Essay (Berkeley: University of California Press, 1983).
 Reyner Banham, Los Angeles: The Architecture of Four Ecologies, 2d ed. (Berkeley: University of California Press, 2009), 18.
 Genevieve Carpio, Collisions at the Crossroads: How Place and Mobility Make Race (Oakland: University of California Press, 2019), 75.
 Inclusive of Los Angeles, Ventura, Orange, Riverside, San Bernardino counties.
 Brenda Jo Bright and Liza Bakewell, Looking High and Low: Art and Cultural Identity (Tucson: University of Arizona Press, 1995); Denise Sandoval, “Bajito y Suavecito/Low and Slow: Cruising Through Lowrider Culture,” unpublished Ph.D. diss. (Claremont Graduate University, 2003); Ben Chappel, Lowrider Space: Aesthetics and Politics of Modern Custom Cars (Austin: University of Texas Press, 2012).
 This section excerpted from Genevieve Carpio, “‘An Essential Part of the Household Equipment’: The Automobile in Mexican Immigrant and Mexican American Life,” in Collisions at the Crossroads: How Place and Mobility Make Race (Oakland: University of California Press, 2019): 144-150.
 Archibald Shamel, “Housing Conditions of the Employe[e]s of California Citrus Ranches,” typescript, undated, p. 4, Archibald Shamel Papers, Tomás Rivera Library, University of California Riverside.
 On automotive cultures in this period, see Thomas Weiss, “Tourism in America before World War II,” Journal of Economic History 64 (2004); Marguerite S. Shaffer, See America First: Tourism and National Identity, 1880-1940 (Washington, DC: Smithsonian, 2001); Virginia Scharff, Taking the Wheel: Women and the Coming of the Motor Age (Albuquerque: University of New Mexico, 1992).
 Constantine Panunzio and the Heller Committee for Research in Social Economics of the University of California, “Cost of Living Studies V. How Mexicans Earn and Live: A Study of the Incomes and Expenditures of One Hundred Mexican Families in San Diego, California,” University of California Publications in Economics, 13 (1933). In their report, the Mexican Fact-Finding Committee cites the San Fernando figure from an unpublished report by the Los Angeles County Health Department. See Mexican Fact-Finding Committee, “Mexicans in California,” 178. See also Scott L. Bottles, Los Angeles and the Automobile: The Making of the Modern City (Berkeley: University of California Press, 1987). Statewide statistics for Mexican American motorists are unavailable.
 Panunzio and the Heller Committee, “Cost of Living Studies v. How Mexicans Earn and Live”; Mexican Fact-Finding Committee, “Mexicans in California.”
 Howard Herrera interviewed by Robert Gonzalez, transcript, 13 April 1994, Inland Mexican Heritage, Redlands.
 In an interview conducted with my paternal grandfather, Vincent Carpio Sr., he recounted his experience as a foreman and the bonus he received for identifying and transporting workers to the fields surrounding Pomona in the 1940s. He described the effective role of “incentives,” such as warm food prepared by my grandmother Consuelo Carpio and cold beer on payday, in retaining workers. Vincent Carpio interviewed by Genevieve Carpio, Spring 2001, Pomona, CA.
 On the connection of migrant workers, automobiles, and collective action see Don Mitchell, The Lie of the Land: Migrant Workers and the California Landscape (Minneapolis: University of Minnesota Press, 1996).
 Rick Martinez, “Co-Founder of Mitla Lucia Rodriguez Dies,” San Bernardino County Sun, 13 January 1981; “Route 66 Special,” Access Rewind [film], IE Media Group, 2011.
 For more on Latina/o restaurant owners as place-makers, see Natalia Molina, “The Importance of Place and Place-Makers in the Life of a Los Angeles Community: What Gentrification Erases from Echo Park,” Southern California Quarterly 97 (2015): 69-111.
 Author has worked in consultation on various IMH projects since 2004.
 A selection of these photographs can be found in Antonio González Vazquez and Genevieve Carpio, Mexican Americans in Redlands (Charleston: Arcadia Publishing, 2012).
 Phil Deloria, Indians in Unexpected Places (Lawrence, KS: University Press of Kansas, 2004), 138.
 For the continuing significance of the corridor in Los Angeles, see “The Corrido of LA,” an exhibition by the Los Angeles County Museum of Art in 2010, http://www.lacma.org/art/installation/corrido-la; for sound recordings, see the Strachwitz Frontera Collection of Mexican and Mexican American Recordings, UCLA Chicano Studies Research Center and UCLA Digital Library, http:// frontera.library.ucla.edu.
 Manuel Gamio, Mexican Immigration to the United States (Chicago: University of Chicago Press, 1930).
 Translated by author. Original printed in Gamio, Mexican Immigration to the United States.
 Veronica Castillo-Muñoz, “Historical Roots of Rural Migration: Land Reform, Corn Credit, and the Displacement of Rural Farmers in Nayarit Mexico, 1900-1952,” Mexican Studies/ Estudios Mexicanos 29 (2013).
 “You go around showing off in your big automobile.” Translated by author. Original printed in Gamio, Mexican Immigration to the United States, 93.
 Rita Urquijo-Ruiz writes that El Renegade was a character in a popular comedy routine in teatro de carpa, or traveling tent theater, used to poke fun at assimilated Mexicans. See Rita Urquijo-Ruiz, Wild Tongues: Transnational Mexican Popular Culture (Austin: University of Texas Press, 2012), 23-25.
 Original printed in Gamio, Mexican Immigration to the United States, 31; the term “fotingo” was often synonymous with Ford motor cars, which Mexican farm laborers frequently owned due to their affordability.
 Ricardo Romo,“Work and Restlessness: Occupational and Spatial Mobility among Mexicanos in Los Angeles,” Pacific Historical Review 46 (1977): 176.
 See digital archive of Ford’s Mexico City plant at “Ford Mexico City Plant Photographs,” The Henry Ford, Dearborn, MI, accessed July 2018, https://www .thehenryford.org/collections-and-research/digital-collections/sets/11598/. See also Ford Motor Company, “Historia de Ford de Mexico,” accessed 29 March 2013, http://media.ford.com/article_display.cfm?article_id = 4166.
 Indeed, the vast majority were Ford cars and trucks, at twenty-seven percent of all automotive objects (a category including automobile types and auto parts) brought to Mexico by repatriates. See Gamio, Mexican Immigration to the United States, esp. Appendix 5, 224-225; for more accounts of Ford automobiles moving back and forth across the U.S.-Mexico border, see Alice Evans Cruz, “The Romanzas Train Señora Nurse,” The Survey 60 (1928): 468-469, 488; Cara Finnegan, Picturing Poverty: Print Culture and FSA Photographs (Washington, DC: Smithsonian Books, 2003).
Though largely forgotten by contemporary Californians, Helen Hunt Jackson’s 1884 Ramona was the most important novel about California of the nineteenth century.Ramona follows its heroine, a mestiza, as she leaves the rancho of her adopted Californio family to live in the San Jacinto foothills with her love Alessandro, an Indian. Though the historical novel follows Victorian stylistic conventions, Jackson intended it to be a social commentary on the early days of California statehood. She hoped that Ramona would inspire social critique, making American settlers question their treatment of Native Americans and Mexican-Americans in Southern California when California became a state, causing the dispossession of both Native Americans and Californios.
At the time of its publication, Ramona’s immense popularity and social message earned it comparisons to Harriet Beecher Stowe’s Uncle Tom’s Cabin, the only novel more popular than Ramona in the nineteenth century. Like Stowe’s novel, Ramona was controversial upon its publication. White settlers accused Jackson of defaming them in their new home. Conversely, the book inspired a proliferation of tourism in Southern California that glorified Spanish history, as white settlers glorified dispossessed Californios and Native Americans in a performance of imperialist nostalgia. Ramona outgrew its origin as a novel intended to protest the treatment of Native Americans and Mexican-Americans in California, becoming the romanticized and fictional basis for interpreting California as a place for Euroamerican settlers, Mexican-Americans, and Native Americans.
In its many adaptations, translations, and transformations, Ramona is a story about belonging and dispossession. It is the story of three Californias belonging to the Native Americans, Californios, and Americanos. In its many versions, the story tends to follow the contours of the novel. It begins with Ramona’s life as a teenager at the rancho with her adopted family. Her adopted mother, a Californio named Señora Moreno, is the widow of a Spanish-Mexican man who had fought against the Americans. She is bitter at the Americans who killed her husband and shrunk her rancho after taking control under the Treaty of Guadalupe Hidalgo. Only her sickly son, Felipe, remains to help the Señora at the rancho. During the sheep-shearing season, Ramona falls in love with a hired Native American hand, Alessandro. In a fight with Señora Moreno, the Señora reveals Ramona’s true heritage as both Scottish and Native American. Ramona then decides to leave the rancho to elope with Alessandro, the son of the chief of the Luiseño tribe, based in Temecula village.
The couple travels across Southern California, seeking both work and places to live, made difficult by an influx of American homesteaders settling on Native lands. They have a daughter, Eyes of the Sky, who dies of a fever because they could not convince a doctor to come to their homestead. Their second child, named after her mother, is also born during this time. Unable to withstand the loss of Native lands and constant humiliation at the hands of the Americanos, Alessandro becomes unstable and is killed by a local vigilante after a misunderstanding. After Alessandro’s death, Ramona returns to the rancho (now missing Señora Moreno, who died in the interim). Eventually she marries her adopted brother Felipe and moves to Mexico City, the romantic dream of California proven to be no more than tragedy.
Helen Hunt Jackson intended Ramona to be a protest novel against the mistreatment of Native Americans in the United States. She wrote the historical novel in a feverish three months, drawing from her travels through Indian country in Southern California, as well as her research for, ACentury of Dishonor, her nonfiction account of the abuse and neglect of Native Americans at the hands of the federal government.
The novel failed as a reform effort because her white readers did not see the story as a tragic telling of the fallout of California statehood. Instead readers saw it as a romance, an emplotment in which the main character overcomes oppression to become saved or emancipated. Ramona’s commercial success came from readers understanding it as a love story and a regional novel of Southern California. After being published serially it was still a best-seller, selling 21,000 copies in 1885. It has never gone out of print. Though Ramona failed to create political change, it succeeded in popularizing a California myth from the historical facts Jackson had collected.
This new myth of California followed on the Romantic tradition rather than a tragic one, celebrating California multiculturalism in a way that today we would understand through anthropologist Renato Rosaldo’s concept of “imperialist nostalgia,” a problematic longing and valorization of the Native Americans and Californios, which Americans pushed out years prior.Ramona brought new tourists to California, aided by the “See America First” patriotic tourism campaign and low railroad fares. Due to demand, proprietors had shifted their already-existing tourist sites to accommodate Ramona-themed tourism by the mid-1920s.
What began as tourist sightseeing became a veritable Ramona industry as guidebooks to the region appeared (the most enduring by George Wharton James in 1908). Towns and businesses adopted Ramona themes: you could also visit locations like the Ramona Highway or Ramona Pharmacy. The book was translated into many languages, adapted into five films and a telenovela in the U.S. and Mexico, and made into no less than eight plays, the most famous of which is the annual Ramona Pageant in Hemet, dating back to 1923.
Tourists searched for the ‘real’ Ramona promised to them in tourist literature, though they were often met by many seeking to make a quick buck on the myth. Perhaps the most ‘real’ of the Ramonas was a Cahuilla woman by the name Ramona Lubo, who Jackson had read about while writing her novel. Like the fictional Alessandro, Lubo’s husband Juan Diego had mistaken the horse of a white man for his, and a vigilante band subsequently shot him in front of his wife and children. Lubo never received justice for her husband’s death. As a woman and an Indian, she had no legal standing as a citizen at the trial and was not invited to testify.
Lubo tried to benefit from the popularity of Ramona, charging small fees for tourists to take pictures of her with their new Kodak cameras, or for entrepreneurs to take pictures of her to reproduce in postcards (she certainly did not receive royalties for the latter). Newspapers denounced her opportunism, a charge they didn’t level at white and Latino Ramona entrepreneurs.
Though Lubo sustained her livelihood in part from Ramona, she probably died from it too. While on exhibit as Ramona at a fair in San Bernardino in 1922, she contracted a respiratory illness from which she never recovered. Her grave became another in the long list of Ramona sites, suffering from unscrupulous tourists who chipped off souvenir pieces of headstones in the graveyard. The Cahuilla tribe closed that cemetery in 1973, taking Lubo back from the tourists who had defined her in life and death.
The best site to understand contemporary Ramona tourism is the Ramona Pageant in Hemet. Inspired in part by the pageant Tahquitz in Palm Springs, the Hemet-San Jacinto Chamber of Commerce hired Garnet Holme (who later became pageant master for the National Park Service) to write a dramatization of Ramona. Like other pageants of the era, the Ramona Pageant was played predominantly by amateurs who recounted scenes of local history with spectacular crowd scenes, music, and choreography. Theater historians disagree as to whether the Ramona Pageant is more of a pageant, a melodrama, or a hybrid of the two, but both sides agree that Ramona can’t simply be viewed as an “ideologically innocent expression of tradition.”
Pageants were one of the most important art forms of the early twentieth century. They created historical stories that were sedimented in the public imagination and drew in heritage tourism. A prominent example was The Mission Play, which ran from 1912 through the mid-1930s in San Gabriel. The Mission Play articulated tropes of Southern California into a clear and self-evident story: The Spanish period was one of European civilization and the following Mexican period was one of decadence and degeneration. Degeneration theory justified American expansion into California as a civilizing force against Californios and Native Americans. Like the Native American village in Yosemite, these tourist attractions romanticized Native Americans and legitimized their dispossession under the new American government. These myths—forms of imperialist nostalgia—gave a way for tourists and settlers to understand their history through the narrative conventions of drama.
Even though the Pageant was originally marketed to motor tourists in the 1920s and 1930s, the play has always served a large role in community life as a ‘rite of spring.’ Many of the Pageant volunteers return yearly for the event, defining the seasons of their lives by Pageant-time. Barb Matson, an ethnographer of the Pageant in the 1990s, argues that the Pageant is a ritual in which both participants and audience-goers emerge as transformed converts to the Ramona story and its multicultural values. In Hemet, where today forty percent of the population is Latino, the play attempts to reflect the diversity of the community through its Pageantry. Many trained ballet folklórico dancers perform, as do Native American tribal members. Former Ramona Pageant historian Phil Brigandi notes that participants include all socioeconomic classes in the San Jacinto Valley, noting that “some of the most prominent and wealthy families in the region perform alongside people on welfare.”
A longstanding goal of the Pageant has been multiculturalism and intercultural understanding, if not social critique of the actions of Americanos in California after 1848. One of the first big changes to the play was the introduction of Spanish language into the script, but arguably the largest transformation has been the increased representation of Native American tribes. While prominent Native families had always participated, students from Sherman Indian School (the local boarding school) were invited to participate by performing tribal dances in the Pageant in the 1930s. In the 1980s, a Native American Advisory Council was formed to improve the Elder Blessing Scene, which had only been allotted four and a half minutes in earlier iterations of the play. Today, this portion of the play almost equals the length of the fiesta scene at the rancho, including Bird Singing (a southern California Native American singing tradition) and a Native soloist, Hoop Dancers, and the Red Tail Spirit Dancers, together representing California and Southwestern Native American traditions.
Hoop Dancers at Pageant
Native participation in the play is made visible through the performers themselves, but it’s also clear from the program. The Pechanga Band of Luiseno Indians, San Manuel Band of Mission Indians, and the Soboba Foundation (of the Soboba Band of Luiseno Indians) provided financial support for the 2018 season of the Pageant. A local participant in the Ramona Pageant noted that “the Pageant may have gone belly-up” without the help of tribes today.
Today’s Native American sponsorship of the Ramona Pageant inverts the historical relationship between tribes in the Pageant. In 1927, Condino Hopkins, the son of Ramona Lubo, wrote a letter to the San Jacinto-Hemet Chamber of Commerce accusing them of profiting from retelling the tragedy of Native dispossession. “Although the pageant is supposed to be in honor of the Indian woman who was immortalized in Mrs. Jackson’s famous story, it is well-known that it is primarily a publicity scheme on the part of the real estate interests in your locality…. In view of the fact that her name is thus commercialized, with the proceeds of this exhibition netting thousands of dollars each season, it would seem to me that it would be no more than right and proper for her heirs to share in such receipts.” Though Hopkins’s point that the play was meant to honor an individual is incorrect, his critique of the Pageant reveals that the benefits of the Pageant largely went to the European settlers in the form of community growth and development, not to the tribes who lost so much from Euroamerican settlement. Though the Pageant is one of the few representations of Native history that could be used to ask hard questions of settlers, has it been used both to reveal how California Native Americans were treated by European settlers and to critique it? A Native American former pageanteer told me that he still hasn’t decided whether the Pageant can bring awareness to Native issues or be a viable social critique, even after a lifetime of attending the event and seven years participating as a Bird Singer. 
Though the Pageant is a community building exercise, former Pageant historians places the value of the Pageant in the story: “The message is the story and the story is the message.” Garnet Holme’s dramatization of the play hewed closely to the book in order to have theatergoers identify with Californios and Native American tribes, an identification made possible by the understanding that both groups are tragically doomed. This identification manifests itself in one of the longstanding traditions of the play, when the crowd boos Americano cowboys as they ride away after threatening Ramona. Jackson hoped that strong identification with Native American and Californios would make contemporary Americanos question their role as settlers in a land that was not originally theirs.
The novel highlights this with the final tragedy that befalls Ramona and Alessandro. After Alessandro’s wrongful death at the hands of a greedy Americano, Ramona moves back to the rancho. Life in California becomes more and more difficult, and Ramona and Felipe choose to move to Mexico—a homeland yet unseen—rather than endure the Americans. On the boat, Felipe asks Ramona to marry him and she agrees, deciding that it would be selfish to refuse. He accepts her reluctant hand, realizing that he will never have all of Ramona, as part of her will always be with Alessandro. They have a prosperous life and many children together in Mexico City. Of the children, the most beautiful and loved is “Ramona, daughter of Alessandro the Indian,” the words with which the novel ends.
Ramona and Alessandro, Hemet Pageant
Scholars of Ramona disagree as to the meaning of this ending. Some have argued that Ramona is not miserable enough at the conclusion to make the novel a searing social critique, but other readings suggest that the ending is tragic, since Ramona can never live in Alta California because of discrimination against Native Americans, nor will she ever love Felipe as she had Alessandro. Through the allegorical deaths of Señora Moreno and Padre Salvierdierra, the Spanish aristocracy and Mission system of California become deceased too, making California alien to Ramona and Felipe. Alessandro’s death also dooms California Indians, creating tragedy for remaining Californios and Native Americans.
Garnet Holme’s original script for the Ramona Pageant maintains the sense of injustice by ending with a speech by the ranch manager Juan Canito, in which he begs God to send the Indians justice and return to them the land that was theirs before the Americanos stepped in. The emphatic plea for justice furthers the invocation of tragedy.
In 2015, the Ramona Pageant Board of Directors commissioned an Idyllwild local, Steven Savage, to write a new version of the play. Unlike the Garnet Holme version and Jackson’s book, this version keeps Ramona—and Felipe—in California, at the rancho that they both love. Rather than recognize the changing times and the tragedy that has befallen them both, Ramona seems to overcome tragedy, making the play into a narrative romance. She ends the play with the following words: “My home, California, where everyone can receive justice.”
The newer version papers over the injustices Ramona has suffered with a quick song and speech, rendering anew the question of what Ramona has become today, and the kind of parable it does—and should—offer to its audience. In his compelling reading of C.L.R. James’s The Black Jacobins, anthropologist David Scott demonstrates how historical metanarratives structure possibilities for future thought; that is, how understanding history as tragedy or romance has implications for our understandings of present politics.
As a novel and story that has been told of California and its history, Ramona has been read as both a romance—in which a hero can overcome present conditions to emerge victorious—and a tragedy—which “sets before us the image of a man or woman obliged to act in a world in which values are unstable and ambiguous.” In a moment where it is obvious that a multicultural democracy is not a “done deal,” perhaps Ramona should not be understood as a romance, but rather as a tragic cautionary tale. This tale is one in which Americanos are the ‘bad’ guys and Ramona is trapped in an unstable and unforgiving world that cannot be resolved by a single song.
Ramona Lubo posing at a grave
 Dydia DeLyser, Ramona Memories: Tourism and the Shaping of Southern California (Minneapolis: University of Minnesota Press, 2005); Lawrence Clark Powell, California Classics: The Creative Literature of the Golden State (Los Angeles: Ward Ritchie Press, 1971).
 Blake Allmendinger, A History of California Literature (London: Cambridge University Press, 2013), 46.
 Valerie Sherer Mathes, “Friends of the California Mission Indians: Helen Hunt Jackson and Her Legacy,” unpublished PhD dissertation (Tempe: Arizona State University, 1988), iv.
 Although the political message of Ramona was missed in the United States, Cuban writer José Martí felt compelled to translate the novel as soon as he recognized the critique of American expansion into Mexico inherent in the tragic work. This is a pan-American (not North American) story, he argues in his introduction to his 1888 translation of the novel, despite being written by a gringa. See Ana-Maria Kerekes, Poder y belleza de la Palabra: Análysis de la traducción martiana de la novela Ramona de Helen Hunt Jackson,” unpublished Master’s thesis (Montreal: Concordia University, 2009), 21-22, and José Martí, José Martí: Obras Completas 24 (La Habana: Editorial de Ciencias Sociales, 1991), 204.
 Mathes, “Friends of the California Mission Indians,’ 201, Allmendinger, A History, 46. John M. Gonzalez, “The Warp of Whiteness: Domesticity and Empire in Helen Hunt Jackson’s Ramona,” American Literary History 16 (2004): 437-65.
 Vincent Brook, Land of Smoke and Mirrors: A Cultural History of Los Angeles (New Brunswick: Rutgers University Press, 2013): 52. Dydia DeLyser, “Ramona Memories: Fiction, Tourist Practices, and Placing the Past in Southern California,” Annals of the Association of American Geographers 93 (2003): 886-908. George Wharton James, Through Ramona’s Country (New York: Little, Brown, 1908).
 For example, see D. A. Hufford, The Real Ramona of Helen Hunt Jackson’s Famous Novel (Los Angeles: D. A. Hufford & Co., 1900) and Carlyle Channing Davis and William A. Alderson, The True Story of ‘Ramona’: Its Facts and Fictions, Inspiration and Purpose (New York: Dodge Pub. Co., 1914).
 Mathes, “Friends of the California Mission Indians,” 197.
 Shilarna Stokes, “Playing the Crowd: Mass Pageantry in Europe and the United States, 1905-1935,” unpublished PhD dissertation (New York: Columbia University, 2013). See also Barb Matson, “Performing Identity, Staging Injustice: California’s Ramona festival as Ritual,” unpublished PhD dissertation (Boulder: University of Colorado, 2006).
 Chelsea K. Vaughn, “The Joining of Historical Pageantry and the Spanish Fantasy Past: The Meeting of Señora Josefa Yorba and Lucretia del Valle,” Journal of San Diego History 57 (2011): 213-235.
 Mark David Spence, Dispossessing the Wilderness: Indian Removal and the Making of the National Parks (New York : Oxford University Press, 1999).
 Phone interview with Phil Brigandi, 29 May 2018.
 Although this was a good faith effort on the part of Pageant organizers, Sherman (like most Indian Boarding Schools) has a much darker history as places where students were prohibited from speaking in their Native languages and forcibly removed from their family for assimilation. See Clifford E. Trafzer, Jean A. Keller, and Lorene Sisquoc, Boarding School Blues: Revisiting American Indian Educational Experiences (Norman: University of Nebraska Press, 2006).
 Hopkins quoted in DeLyser, Ramona Memories, 135.
 A 1972 study tried to tracked some of the economic impacts of the Ramona Pageant, and found that around 7.5 percent of San Jacinto Valley residents had moved to the area after being introduced through the play. This points to the impact of the play as being both an economic change to the community and a social shift to growth in the region based on Ramona tourism. See Robert M. McLaughlin, “A Descriptive Study of the Interrelationships Between the City of Hemet and the Ramona Pageant,” unpublished Master’s thesis (Los Angeles: University of California, Los Angeles, 1972).
 Helen Hunt Jackson, Ramona: A Story (New York: Avon Press: 1970 ), 349.
 Matson, “Performing Identity.” See also Allan Nevins, “Helen Hunt Jackson: Sentimentalist v. Realist,” American Scholar 10 (1941): 280; Kate Phillips, Helen Hunt Jackson: A Literary Life (Berkeley: University of California Press, 2003), 259; Rosemary Whitaker, “Helen Hunt Jackson,” Boise State University Western Writers Series 78 (Boise: Boise State University, 1987), 37.
 David Scott, Conscripts of Modernity: The Tragedy of Colonial Enlightenment (Durham: Duke University Press, 2004).
Julia Sizek is a Ph.D. Candidate in Anthropology at UC Berkeley and Associate Scholar for the Native American Land Conservancy. Her doctoral research focuses on contemporary land use problems in California’s Mojave Desert. Support for research in this article was provided by NSF Doctoral Dissertation Research Improvement Grant (#BCS- 1756340) and Wenner-Gren dissertation fieldwork grant (#9561).
With his book series, “Americans and the California Dream,” Kevin Starr did as much as any single author to frame the way we think about California history. Published between 1973 and 2009, the eight-volume series was monumental in its scope and ambition, yet organized by a single trope. Like most dreams, the California one resisted precise definition. But Starr skillfully deployed this metaphor to shape and direct his sweeping account. Over time, his approach became the default way to conceptualize California culture.
Although popular, Starr’s series was not immediately embraced in academic circles. “By the time my second volume appeared,” he noted in 2007, “the New Historians had made their appearance, and I was on the verge of being out of favor…. I stayed out of favor for approximately a decade and a half.” As academics shifted their sights to issues of race, class, gender, and environmental despoliation, Starr’s narrative risked the charge of Whig history, with its inexorable march toward progress and enlightenment. But as Forrest G. Robinson has argued, Starr’s historiography was “profoundly religious,” more baroque than Victorian. Far from denying California’s legacy of violence and iniquity, he presented it as a story of sin, atonement, and redemption. The possibility of redemption, in turn, kept the dream alive and underwrote Starr’s durable optimism.
At first, Starr’s series unfolded in chronological order, with most volumes focusing on a decade or so of the state’s history. That pattern was disrupted after the 2002 publication of Embattled Dreams: California in War and Peace, 1940-1950. Instead of proceeding to the 1950s, Starr jumped ahead to Coast of Dreams: California on the Edge, 1990-2003, the only volume not published by Oxford University Press. He returned to form with Golden Dreams: California in an Age of Abundance, 1950-63, the final volume in the series. Although he continued to write books, he left a gap of almost three decades in the middle of his signature series. He passed over the late 1960s in silence. Likewise, he wrote nothing about the 1970s and 1980s, which author David Talbot later called San Francisco’s “season of the witch.”
When asked about the gap, Starr had a stock reply: Whoever wrote the book about the 1960s should call it Smoking the Dream. When pressed for a serious answer, he mentioned his distance from that era’s major themes. “I am currently finishing the final volume of my ‘Americans and the California Dream’ series,” he said in 2007.
It covers the period 1950 to 1963. The very fact that I am ending what has been my life’s work as an historian with this date speaks for itself. Intellectually, psychologically, socially, even politically, I was formed by the 1950s.… I will leave it to future historians to deal with the mid- and late-1960s, the 1970s, even the 1980s.
Starr’s decision, however, does not quite speak for itself. Historians usually write about periods that have not shaped them personally. In the same interview, Starr speaks at length about his own formation and predilections but never quite explains his reason for avoiding almost a quarter century of eventful California history. His indirection suggests another reason for the omission in what he calls his life’s work as a historian.
Yet if the temporal gap in Starr’s series seems mysterious, we need not speculate about his views of that period. In fact, he wrote copiously about those decades—not as a historian, but as a columnist for TheSan Francisco Examiner. Churning out more than 5,000 words per week between 1976 and 1983, Starr made it perfectly clear where he stood on the issues of the day, especially in San Francisco. Indeed, his articles hint at, but do not definitively establish, his reason for avoiding that period in his series.
Starr’s path to the Examiner was unusual. He grew up in San Francisco, living from age ten to fifteen in the Potrero Hill Housing Project. He attended St. Boniface School in the Tenderloin and, for one year, Saint Ignatius High School. After majoring in English at the University of San Francisco and serving in the U.S. Army, he earned a Ph.D. in English and American Literature at Harvard University, which he recalled as “a magical and nurturing place.” Widener Library’s vast California collection inspired him to write about his native state. “I thought, ‘There’s all kinds of wonderful books on California, but they don’t seem to have the point of view we’re encouraged to look at—the social drama of the imagination,’” he later told the Los Angeles Times. In 1973, Oxford University Press published his critically acclaimed dissertation book, Americans and the California Dream, 1850-1915.
Instead of pursuing an academic career, Starr returned to San Francisco, wrote speeches for mayor Joseph Alioto, and was appointed city librarian in 1974. His decision to work for Alioto was consequential. The wealthy Catholic lawyer was a Democrat, but members of the so-called Burton machine—most notably Phillip and John Burton, Willie Brown and George Moscone—considered Alioto a threat to their progressive coalition. When the ILWU, the radical longshoremen’s union, endorsed Alioto’s 1967 mayoral bid, an angry Phil Burton threw his support behind Jack Morrison, Alioto’s opponent. “We’re going to shove Jack Morrison’s bald head up Alioto’s ass,” Burton told an ILWU representative. In fact, Alioto sailed to victory and was reelected in 1971. He ran for governor in 1974, but lost to Jerry Brown in the Democratic Party primary. When Moscone edged out conservative supervisor John Barbagelata in the 1975 mayoral race, the Burton machine finally captured City Hall. By that time, the coalition included gay and environmental activists as well as labor unionists, racial and ethnic minorities, and white progressives.
Shortly after Moscone’s victory, Starr began writing for the Examiner, which had served as the Hearst Corporation’s flagship publication for decades. “The Monarch of the Dailies” was still a political force in the city, but its influence was shrinking along with its market share. In 1965, it signed a joint operating agreement with the more popular San Francisco Chronicle, whose executive editor, Scott Newhall, had regarded the Hearst newspapers as “something evil” designed to stupefy the masses. Newhall wanted to produce a very different kind of publication: “I figured the Chronicle had to be successful, and the city had to have a paper that would amuse, entertain and inform, and save people from the perdition of Hearstian ignorance.” When it came to hard news, however, the Examiner considered itself the scrappy underdog. “We were the No. 2 paper in town with declining circulation,” recalled former editor Steve Cook. “But the spirit on the staff was sort of impressive—we actually thought of ourselves as the better paper in town, we thought we could show our morning rivals how to cover the news.”
Soon Starr was writing six columns per week, including a Saturday article devoted to religion. Most of his columns featured the city’s cultural activities and personages, but Starr also took the opportunity to shape his public profile. He presented himself as a conservative Catholic intellectual, a San Francisco version of William F. Buckley Jr., whom he frequently praised. In one column, he described himself as “a conservative neo-Thomist Roman Catholic with Platonist leanings and occasional temptations towards anarchy.” He also wrote about the challenges of that identity in San Francisco:
It’s not easy to be a conservative. It’s often lonely to be a thinking conservative. And to be a thinking conservative in San Francisco can frequently be an even more difficult and isolated condition…. Here in San Francisco such left-liberal opinions have coalesced into a rigid inquisitorial orthodoxy—an orthodoxy now reinforced by political power—that brooks no opposition whatsoever.
The “political power” Starr had in mind was likely the Burton machine. With Moscone in City Hall, Willie Brown in the Assembly, and the Burton brothers in Congress, that machine was shifting into overdrive. Yet Starr clearly thought that San Francisco was moving in the wrong direction.
Proposition T, which voters approved in 1976, reinforced Starr’s misgivings. By substituting district elections for citywide races, that measure reduced the power of downtown business interests and boosted the electoral prospects of neighborhood activists. Months before the first district elections occurred, Starr suspected that the new arrangement could usher in “a large number of alienated, left-wing nuts, hostile to the private sector, determined to dismantle anything in San Francisco that doesn’t conform to their pseudo-proletarian, paranoid world-view.” He might have been channeling Alioto, who championed downtown interests, but the intensity of his anti-left rhetoric was notable. In the end, the switch to district elections benefited Harvey Milk and Dan White, who became supervisors in January 1978. Milk won in District 5, which was centered in the gay Castro neighborhood, while White represented District 8, which included the white, Catholic, and decidedly unhip neighborhoods on the city’s southern border.
Starr weighed in on other issues as well. In an interview with Moscone, another former Saint Ignatius student, he asked, “Don’t you feel you’ve been too partisan as mayor, firing all the Alioto commissioners and appointing only people from the left-liberal spectrum?” Moscone replied, “Like a lot of people from old-time San Francisco stock, you’re a little paranoid over changes in this city.” Starr also defended Proposition 13, the 1978 initiative that capped increases in property tax rates. Later, he bemoaned the predictable cuts to the arts and library budgets that followed its passage. He called the city’s refusal to restrict pornography to certain neighborhoods “a form of sexual molestation.” The hippie movement, he claimed, peaked in 1967 with the Human Be-In. The Love Generation “had nothing and no one to love—love truly, that is, in a spirit of ecstatic self-surrender and ardent sacrifice.” In another column, he noted that the city had grown slack and facile: “We are feeding ourselves on the stale husks of Aquarius when we should be nourishing ourselves on the good bread of moral renewal and social realism.”
In May 1978, Starr produced a series of articles on left-wing political violence, which he equated with terrorism. It was all the more surprising, then, when he argued that Patricia Hearst, whose family owned the Examiner, should be pardoned for the bank robberies she committed with the Symbionese Liberation Army after they abducted her. Hearst, who was defended by an expensive legal team, had avoided murder charges by testifying against her abductors and former comrades. Many observers regarded her trial and its aftermath as an example of preferential treatment for wealthy defendants, but Starr turned that notion on its head. For him, the media heiress was nothing less than a political prisoner, and his argument appealed directly to his audience’s class and racial resentments:
If she were born poor, or born to minority parents, she would be free today—free to reassemble the shattered fragments of her life. Patricia Hearst is a political prisoner. She is a prisoner to the envy of those who do not like her class, her race, her family. She is the victim of a dark, obscure ritual that reveals something hideous in the collective American psyche—something that ignores justice in a headlong rush to indulge base envy. Patricia Hearst is a political prisoner of the politics of class resentment.
Following a coordinated campaign on Patricia Heart’s behalf, President Jimmy Carter commuted her sentence in 1979. Two decades later, President Clinton pardoned her despite the strong objection of Robert S. Mueller, III, the U.S. Attorney for the Northern District of California, who noted that Hearst had expressed no remorse for her crimes.
Most of Starr’s columns were anodyne, but he was capable of full-throated moral outrage. In one column, “Sodom-by-the-Sea,” he decried what he called San Francisco’s “hedonism touched by malevolence.”
On weekends the Lear jets swoop into the airports of the Bay Area, disgorging groups of affluent thrill-seekers. They cruise the town in Roll-Royces, here for weekends of unusual sex. Men, women, boys, girls, S & M, B & D, whatever—they quicken their jaded appetites through the sheer virtuosity of their excess, consuming bodies, cocaine, booze, in an onrush of perverted exuberance.
In Starr’s view, this perversion led to even worse outcomes: “Violence is always lurking in the underlife of Sodom and Gomorrah; for when the consumption of bodies exhausts itself and still there is no satisfaction, then comes the killing rage.” Even worse, local politicians encouraged that descent into vice.
Assemblyman Willie Brown, Jr. recently put out an open invitation for the gays of America to flock to San Francisco. Supervisor Harvey Milk reiterated the invitation recently on national television. I understand these gentlemen’s political motivation. More gays means more votes. But I abhor the idea of turning San Francisco into one big bathhouse, gay or straight.
Starr also claimed that “the excesses of sexual exploitation and murder” were “beginning to give San Francisco the sinister ambiance of Berlin during the waning years of the Weimar Republic.” In another column, Starr criticized “the outer fringe of the gay community” for “appropriating the ordeal of European Jewry as the image of themselves.” He added, “There were no bars or bathhouses or Coors beer at Dachau. There were no drag-queen contests at Buchenwald…. In any event, the spiritual successors of the holocaust Jews are not the boys on Castro Street.”
These barbs were not lost on Harvey Milk. In his most famous speech, delivered at the 1978 San Francisco Gay Freedom Parade, he rebuked Starr by name: “And here, in so-called liberal San Francisco, we have a columnist for The San Francisco Examiner, a columnist called Kevin Starr, who has printed a number of columns containing distortions and lies about gays. He is getting away with it.” Later in the speech, Milk referred to Starr as a bigot and grouped him with anti-gay activist Anita Bryant and State Senator John Briggs, who sought to prevent gays from working in public schools.
Starr’s coverage of conservative politicians was more favorable. His profile of John Barbagelata appeared five days after the Jonestown tragedy in November 1978. Barbagelata had warned his colleagues about Peoples Temple pastor Jim Jones, who was responsible for the deaths of more than 900 persons, including Congressman Leo Ryan, in Guyana. But after Jones mobilized his congregation to aid the Moscone campaign, he was embraced by the Burton machine and appointed to the San Francisco Housing Authority Commission. The Jonestown incident furnished a golden opportunity to lambast Moscone, but Starr also had played a role in the Peoples Temple saga. As editor of New West, a Rupert Murdoch-owned magazine launched in 1976, Starr killed a story about Jones after a church delegation persuaded him that the piece would harm their humanitarian work. The revised story ran in New West only after Starr was replaced.
In his Examiner column, Starr only hinted at the Jonestown atrocity. He imagined how Barbagelata, who had suffered a stroke, felt as Moscone “was being feted in the Fairmont Hotel by the people willing and able to pay $500 per plate.”
I wonder if John Barbagelata felt bitter as he lay in his hospital room, his health broken by all those arduous years on the Board of Supervisors, trying to save San Francisco from fiscal prodigality, from ideological politics, from the takeover of city government by self-righteous special interest groups.
In the same column, Starr sympathized with Dan White, who had recently resigned from the Board of Supervisors.
Supervisor Dan White feels so neglected, so unaware of the value of what he was bringing to San Francisco through his responsible presence on the Board, that he resigns in a fit of fatigue, the combat infantryman paratrooper from Vietnam, discovering that San Francisco politics can be an even more fierce battleground than the Mekong Delta.
Five days later, that “responsible presence” turned lethal. After White assassinated Moscone and Milk at City Hall, Starr did not suggest that White or the institutions that shaped him—the Catholic Church, U.S. Army, San Francisco Police Department, and the San Francisco Fire Department—might somehow be at fault. Rather, he argued that the entire city needed to atone for its sins.
San Francisco is such a cursed city. Some deep disorder of the soul holds the spirit of San Francisco in thrall, like the loathsome embrace of an evil spirit.… Like the peoples of old, we should take off our vestments of luxury. Wearing sackcloth and ashes, we should anoint our faces with the bloodstained earth that lies beneath us, and, collectively, we should implore the intercession of God, or the gods, or whatever values and ideals we hold sacred. We should beg forgiveness for our sins—sins against the light, sins against each other.
When White was convicted of voluntary manslaughter, not murder, Starr criticized liberals for objecting to the verdict; after all, weren’t they responsible for the diminished capacity defense that White deployed? He also assailed the gay community, which had suffered for decades at the hands of the San Francisco Police Department, for the White Night riots that followed the verdict. Moreover, Starr wondered how the police must have felt during those riots: “What feeling of betrayal must have surged through the rank and file as they stood on line, defenseless against an angry mob!”
Starr did not always toe the conservative line. The death of radical author and journalist Carey McWilliams prompted an appreciative article in 1980; later, Starr described McWilliams as “the state’s most astute political observer” and “the single finest nonfiction writer on California—ever.” After attacking Governor Jerry Brown in a column called, “Grow Up, Jerry Brown,” Starr finally admitted his fondness for the former Jesuit seminarian and Saint Ignatius alumnus. He endorsed Francis Ford Coppola’s Apocalypse Now and Dennis McNally’s biography of Jack Kerouac. In 1981, he commended the Sisters of Perpetual Indulgence for their presence and work in San Francisco. He also urged compassion for illegal immigrants, whom he described as “dreamers in the desert.” Those who died trying to enter the United States, he wrote, “had better American dreams than most of us have. They know what we have forgotten—that America is worth everything, if it is worth anything at all.”
In 1984, one year after leaving the Examiner, Starr ran for supervisor. He received endorsements from Alioto, former mayor George Christopher, and Leo McCarthy, the state legislative leader and Burton rival. Starr was also endorsed by the Chronicle and Examiner, which cast him as a centrist. “People do not want to live in a city where there is constant conflict,” he told the Examiner. “Elected officials have the duty to harmonize, but lately they have pitted left against right, the neighborhoods against downtown, and labor against management.”
By that time, San Francisco had reverted to citywide elections, and the Board of Supervisors had six open seats. Starr finished a distant seventh. One of his campaign volunteers, Michael Bernick, later identified Starr’s aversion to identity politics and class conflict as a key factor in his defeat.
Throughout his campaign, Starr was both mystified and angered by what he considered to be a pandering attempt to divide the city by race, gender, or economic status. When the various Democratic clubs sent out questionnaires asking for support for their advocacy or projects, campaign volunteers would urge Starr to play ball. But Starr always refused to tell these groups what they wanted to hear. He saw San Francisco through the lens of a “civic culture” by which race, gender, and economic status were secondary to San Francisco as a greater entity.
Much later, Starr wrote an op-ed in the Los Angeles Times with a similar message. Newly elected governor Arnold Schwarzenegger should not run an ideological or fiercely partisan Republication administration, Starr argued. “The core principle of the Party of California is that the state—its history and heritage, its environment, its economy, and above all the well-being of its people—is worth imagining, worth struggling for; California represents a collective ideal connected to individual and social fulfillment.” Schwarzenegger sent the article to his senior staff with his approval.
After the failed 1984 campaign, Starr began to refashion himself, California style. Inventing the Dream, the second volume in what his publisher was already billing as a series, appeared in 1985. Four years later, he became a visiting professor at the School of Urban and Regional Planning at the University of Southern California. Five years after that, Republican governor Pete Wilson appointed him California State Librarian, a position he held for a decade. During that time, he encouraged countless projects devoted to California history, including my biography of Carey McWilliams, for which he also wrote a blurb. In 1998, Starr was promoted to University Professor and Professor of History at USC. Over the next twelve years, he produced the final five volumes of his series, a brief history of California, and a short book on the Golden Gate Bridge. Among his many awards was the National Humanities Medal, which President George W. Bush presented to him in 2006.
As Starr’s profile rose, the Examiner columns faded from view. One wonders how he squared that body of work with the dream series. Did his criticisms of Harvey Milk and George Moscone, his sympathy for Dan White, his arguments on behalf of Patricia Hearst, or his role in the Peoples Temple tragedy dissuade him from treating those topics in his books? Perhaps, but the evidence is more suggestive than dispositive. Certainly the tone and temper of his work evolved in concert with his new professional duties. As the dream series unfolded, it began to reflect his sponsorial role at the state library and his emergent academic persona. The result was a new and more expansive authorial self, one that appealed to the state’s aspirations rather than to partisanship or moral reaction. Despite this evolution, or perhaps because of it, Starr declined to revisit the years immediately before, during, and immediately after his stint at the Examiner.
Although Starr didn’t parlay his early journalism into a political career, it groomed him for the work to come, much as his experience at Harvard did. It seasoned him, taught him how to write on deadline for general audiences, and introduced him to public figures and issues he wouldn’t have encountered had he accepted an academic position straight out of graduate school. But there was nothing inevitable about Starr’s achievement. To become California’s foremost historian, he had to overcome setbacks and adapt to changing circumstances. Only by shedding his journalistic persona and adopting a new model of authorship could he become the ardent but politically tempered chronicler of California civilization.
Courtesy of the California History Room, California State Library, Sacramento, California.
Photo Courtesy of Mattie Taormina.
Bruce Wolfe’s Bar Relief, The Bohemia Club.
 Forrest G. Robinson, “An Interview with Kevin Starr,” Rethinking History 11 (2007): 28
 Forrest G. Robinson, “Spiritual Radiance, Expressive Delight: The Baroque Historiography of Kevin Starr,” California History 78 (1999/2000): 274.
 David Talbot, Season of the Witch: Enchantment, Terror, and Deliverance in the City of Love (New York: Free Press, 2012).
 John Jacobs, A Rage for Justice: The Passion and Politics of Phillip Burton (Berkeley: University of California Press, 1995), 173.
 Scott Newhall, “A Newspaperman’s Voyage Across San Francisco Bay: San Francisco Chronicle, 1935-1971, and Other Adventures,” Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 1990.
 Kevin Starr, “Class and Contradiction,” San Francisco Examiner, 11 May 1977.
 Kevin Starr, “Right Thinking,” San Francisco Examiner, 12 September 1977.
 Kevin Starr, “To T or Not to T?” San Francisco Examiner, 6 April 1977.
 For the Moscone interview, see Kevin Starr, “Have You Been a Good Mayor?” San Francisco Examiner, 30 April 1977. For his positions on Proposition 13, see his columns on 23 March 1978; 9 May 1978; 20 June 1978; and 24 June 1978. On budget cuts, see “Where Are Our Priorities?” 30 April 1982. On pornography, see “Putting Porn in Its Place,” 19 February 1977. On the Love Generation, see “Beginning of the End,” 2 January 1979. On the city’s moral fiber, see his column on 15 January 1977.
 Kevin Starr, “Class Action,” San Francisco Examiner, 16 August 1978.
 Kevin Starr, “Sodom-by-the-Sea,” San Francisco Examiner, 26 April 1978
 Kevin Starr, “A Lesson in History,” San Francisco Examiner, 6 May 1978. The Coors beer reference alludes to a boycott organized in the Castro by Harvey Milk and organized labor.
 Randy Shilts, The Mayor of Castro Street: The Life and Times of Harvey Milk (New York: Macmillan, 2008), 365.
 Tim Reiterman, Raven: The Untold Story of the Rev. Jim Jones and His People (New York: Penguin, 2008), 325.
 Kevin Starr, “Public Service,” San Francisco Examiner, 22 November 1978.
 Kevin Starr, “Liturgy,” San Francisco Examiner, 29 November 1978.
 Kevin Starr, “The Dan White Verdict,” San Francisco Examiner, 30 May 1979.
 Kevin Starr, “The Men in Blue,” San Francisco Examiner, 5 June 1979.
 For the McWilliams column, see “An Historical Legacy,” 14 July 1980; Starr’s other compliments to McWilliams appear in Embattled Dreams, pp. 257 and 103. “Grow Up, Jerry Brown” ran in the Examiner on 17 August 1980. Starr touted Apocalypse Now on 24 September 1979; “Walking the Beat,” his review of McNally’s Desolate Angel, ran on 16 August 1979. Melissa M. Wilcox notes his approach to the Sisters of Perpetual Indulgence and the negative response from the Catholic Church in Queer Nuns: Religion, Activism, and Serious Parody (New York: New York University Press, 2018), 44. He expressed compassion for unauthorized immigrants in “Dreamers in the Desert,” which appeared on 13 July 1980.
 Bruce Pettit, “Why Starr Seeks S.F. Seat,” San Francisco Examiner, 4 January 1984.
 Kevin Starr, “Fuse It—Or Lose It,” Los Angeles Times, 16 November 2003.
 Miriam Pawel, The Browns of California: The Family Dynasty That Transformed a State and Shaped a Nation (New York: Bloomsbury, 2018), 359.
Peter Richardson teaches humanities at San Francisco State University, where he also coordinates the American Studies and California Studies programs. His books include No Simple Highway: A Cultural History of the Grateful Dead (2015); A Bomb in Every Issue: How the Short, Unruly Life of Ramparts Magazine Changed America (2009); and American Prophet: The Life and Work of Carey McWilliams, which the University of California Press published in paperback in 2019.
Located in the heart of the city’s Little Tokyo Historic District, a visit to Los Angeles’ Japanese American National Museum (JANM) is a humbling experience. JANM exists by active community collaboration. The museum’s exhibits tell the story of a group of people who persevered in their hopes of making America their home even as “white” America pushed back on accommodating and accepting people of Japanese ancestry. Anchoring the museum’s display is a wooden structure. The sparse and rickety edifice is frugally-built and a less sturdy version of the log cabins that one finds in the Great Smoky Mountains in the American South. The wooden structure is one of the few surviving housing structures bought and relocated to the museum from the Heart Mountain internment camp in Wyoming. It represents one of the most dismal and yet often overlooked chapters of modern American history—the forceful removal, relocation, and imprisonment of over 120,000 Japanese Americans to inland detention facilities from the coasts during World War II.
The wooden structure with its modest interiors greets visitors as the first object of display in the museum’s second floor. Beyond the wooden structure lies an exhibit that includes everyday objects, historic photographs, and useful anecdotes that support the visitor in navigating what is bound to be a fairly new immigrant narrative for most people. The open floor plan that one traverses to explore the first couple of rooms comes to an abrupt halt as visitors make their way past the thick glass doors into the section devoted to the Japanese internment. Although, it might simply have been an architectural choice to separate this section of the exhibit. I couldn’t help but imagine a curatorial intent behind forcing visitors to push open a pair of heavy doors to enter into an area earmarked for exhibits depicting life during a state-sanctioned sequestering of fellow citizens. Like the sudden, swift blow to Japanese American aspirations of realizing their American dreams, the visitor is transported, beyond the glass doors, from the tranquility of everyday Japanese American life to the hostile badlands of middle America.
Little Tokyo, the neighborhood that houses the museum is today a symbol of resistance and resilience. A gateway to Japanese immigrants in the nineteenth and twentieth centuries, the neighborhood was home to some 30,000 Japanese Americans before it was swept clean during Executive Order 9066 in 1941-42. During the war years, the once burgeoning neighborhood became a ghost town before being populated by large groups of Hispanic and African-American laborers. These workers who had arrived in the city lured by defense manufacturing jobs were unable to find housing because of restrictive housing covenants and occupied the abandoned Little Tokyo structures.
Bronzeville, as the area came to be referred to during World War II, was the site of the Zoot Suit riots between white sailors and Hispanic residents of the area. After the war, Japanese residents gradually started coming back to Little Tokyo. Under the leadership of the Little Tokyo Business Association, the area was rebuilt and revitalized around 1947 and is today a thriving tourist and business destination, even if escalating costs have forced the bulk of the Japanese American residential communities to move to Torrance, Gardena, West Los Angeles, and Arcadia.
The Little Tokyo neighborhood is framed by the JANM on one side and the Aratani Theatre on the other with the Little Tokyo Village plaza, with its convenience stores, confectioneries, and restaurants separating the two pivotal landmarks. The Aratani theatre managed by the Japanese American Cultural and Community Center (JACCC) has been a point of pride for the Little Tokyo district. Since opening its doors in 1983, they have hosted some of the biggest names in Japanese theatre, music, and the arts.
The East West Players (EWP) is another stalwart of the neighborhood. EWP was founded in 1965 by Asian American actors. Now in its fifty-third year, the company is the longest-running professional theatre of color and is seemingly the largest producing organization of Asian American work. Snehal Desai, who is the EWP’s producing artistic director, explained how the East West Players is located at an interesting intersection of the city in that it is surrounded by the Los Angeles Police Department, City Hall, the erstwhile Los Angeles Times building, and a stone’s throw from the Dorothy Chandler Pavilion and the Music Center. This puts it squarely in the middle of the multiple loci of power—intellectual, political, and administrative—in the city. And yet the nation’s oldest and largest Asian American company holds on dearly to its diminutive appearance, housed in a former church. It seems the company deliberately stays away from the glitz and glamor of the entertainment world even as it continues to produce and promote high caliber work that celebrates the diversity of the American experience.
EWP was founded in 1965 by Asian American actors. Now in its 53rd year the company is the longest-running professional theatre of color and the largest producing organization of Asian American work.
With Little Tokyo as its setting, the memories enshrined in the Japanese American National Museum as reminders, East West Players and the Japanese American Cultural and Community Center as partners, and the Aratani Theatre as its venue, Allegiance: A New Musical Inspired by a True Story made its Los Angeles premiere in March 2018. Before it arrived at Aratani, the George Takei starrer had had its world premiere at San Diego’s Old Globe and a brief Broadway run at New York City’s Longacre Theatre. The musical had been in the works since 2008 when Takei and his husband Brad initiated a conversation with its creators, Jay Kuo and Lorenzo Thione, about creating a musical that would embrace and put the experience of Takei and several thousands like him who survived the Japanese internment during the Second World War into a stage performance. The conversation started in the aftermath of two back to back chance meetings between Takei and Brad, and Kuo and Thione while attending shows in New York City. Takei was particularly moved by the song “Inutil” during a performance of In the Heights, which the four attended together. And the conversation that ensued convinced Kuo and Thione that Takei’s family experience would produce a moving show.
The George Takei story itself is a celebration of the Asian-American version of the American Dream. Born Hosato Takei in 1937 in Los Angeles to an Issei (first-generation) father and a Nissei (second-generation) mother, Takei was christened “George” after the British monarch of the same name. In 1942 Takei and his family were forcefully relocated first to Santa Anita, then to Rohwer, Arkansas, and finally to the Tule Lake War Relocation Center, Northern California as part of the Japanese-American internment during the Second World War. After the war and the release of the former internees, Takei and his family moved back to Los Angeles where his father took up a petty job to support his family. The world war not only claimed a part of Takei’s childhood, but it also took away an aunt and a young cousin who were found dead in a ditch in Hiroshima in the aftermath of the U.S. atomic attack on the Japanese cities. Takei originated the role of Hikaru Sulu in Star Trek and went on to achieve both critical and popular fame for this iconic television role. Since Star Trek, Takei has appeared in numerous films and television shows. Starting in the late 2000s, he embraced various social media platforms and became a social media celebrity with millions of followers across Twitter, Facebook, and Instagram. Takei also recently launched a YouTube series called It Takeis Two with his husband Brad. Using his iconic status first as a popular and beloved television star and more recently as a social media phenomenon, Takei has been vocal about pressing social issues, most notably LGBTQ advocacy and rights. Takei says, “Raising awareness of the JA internment has been my life mission,” and with Allegiance Takei has opened up a national conversation on Japanese internment while simultaneously touching on its overall national shame as much as it is a personal history for the veteran actor.
The most recent Los Angeles avatar of the play opens with a celebration in the Kimura household in Salinas, California where the family are shown to be artichoke farmers. Sammy (Ethan Le Phong), the young son of the family is portrayed to have just returned from college where he has been elected as class president. His father Tatsuo (Scott Watanabe) is quietly proud of his son, but still manages to push him to do better. This mentality rings true for most Asian parent stereotypes in that they seem impossible to satisfy. Kei (Elena Wang), Sammy’s sister and Ojii-chan (George Takei) make up the rest of the family. The celebration is short-lived as the family receives the news of the Japanese attack on Pearl Harbor. Sammy is eager to prove his allegiance by enlisting, but the family instead is forced to join other dazed and confused families as they make their way to Heart Mountain, Wyoming, “where their multifamily barrack is meager protection from choking dust and bitter cold.”
The Japanese internment in the aftermath of the Pearl Harbor attacks was one of the darker episodes in the modern history of the United States. Responding to the anti-Japanese sentiment sweeping through the country after Pearl Harbor, President Roosevelt issued the infamous Executive Order 9066. This executive order gave sweeping authority to the Secretary of War and his military personnel to designate restricted areas and exclude certain members of the population from these prohibited military areas. Under the aegis of the executive order and under the sweeping authority granted by it, the Western Defense Command announced that all people of Japanese ancestry would be relocated from the West Coast. Notices began to appear in Japanese communities in April 1942 instructing families of Japanese ancestry to make preparations and report to designated areas for relocation. Defiance of the order could lead to arrest and imprisonment.
Several Japanese Americans expressed shock at the turn of events. Miné Okubo, an artist from Oakland writes, “To think this could happen in the United States. We were citizens. We did nothing. It was only because of our race. They did nothing to the Italians and the Germans. It was something that didn’t have to happen. Imagine mass evacuating little children, mothers, and old people!” Evacuees were instructed to pack two suitcases and a duffle bag each and were warned that the relocation centers were pioneer communities without adequate infrastructure. 120,000 Japanese Americans, several of them American born citizens left their homes, businesses, farms, and possessions behind as they embarked on a new adventure inland, unsure about their imminent futures.
Not unlike their real-life counterparts, the play’s characters find themselves in a hostile environment and under brutal suppression once at the camp. Throughout the longer first half of the play, however, we see the internees reconciling with their fate and negotiating with the inimical situation, making it work. In the camp, Tatsuo Kimura, the proud Japanese patriarch of the Kimura household refuses to disavow his Japanese identity when he is asked to fill out an insulting questionnaire designed to test the allegiance of interred citizens. This form, reminiscent of several contemporary visa application forms where applicants are asked if they have ever endorsed terrorism or terrorist organizations, is seen as an affront by Tatsuo to the honest life that he has led while pursuing his American dream.
The play ends with an older Sam Kimura portrayed by George Takei, getting ready for yet another Pearl Harbor commemoration. A visitor, who he doesn’t know has brought a big brown envelope. In it we find a copy of Time magazine, with a young Sammy on its cover, memorabilia that Tatsuo had held on to till his last day, and a purple heart. Sam learns that the messenger is Hanako, the daughter of Kei and Suzuki, named after the slain nurse from the Heart Mountain camp—Hannah, the girl who Sammy had dared to love knowing fully well that their relationship would be considered illegal before law. Reminded of the past, and all that he had missed during the years that he stayed out of touch with his family, Sam Kimura breaks down as he welcomes his niece back into his life in a beautifully touching moment of familial reconciliation.
The cast performing “Wishes on the Wind” in the Los Angeles premiere of Allegiance starring George Takei at the Aratani Theatre, co-produced by East West Players and Japanese American Cultural & Community Center. Photo by Michael Lamont.
Director Snehal Desai says that this play has always had a Los Angeles connection, with Takei being from the city, the first reading of the play taking place in the Japanese American National Museum, and with Los Angeles being home to the nation’s largest Japanese American population. The director, who also heads the East West Players as artistic director was therefore excited to bring the musical back to its spiritual if not actual home. George Takei offered a more nuanced take on Los Angeles’ relationship to the play in an email interview. The octogenarian writes, “In many ways, the City of Los Angeles is the epicenter of the work we have done to keep alive the memory, history and education about the Japanese American internment.” He points to institutions of socio-cultural significance that call the area home to further his point, “With things like the JANM and the Go For Broke Monument, not to mention the JACCC and the support of venerable institutions such as East West Players, Los Angeles has resources that no other city has to integrate our show’s message and story with the rich tapestry of the community today.” But extant resources aside, the history of the neighborhood cements its ties further with the story that the play shares. Takei walked me through the history of this neighborhood highlighting pivotal existing landmarks that are reminiscent of this recent painful history: “Both the JANM’s first ‘building’ and East West Players’ original Union Church building are historic landmarks of the internment of Japanese Americans. The JANM’s first home was the former Nishi Hongwanji Buddhist Temple, which was first built in 1927 and served as the headquarters of the Shin sect of the JA Buddhist community until the evacuation order.” Takei continued, “Union Church was founded by JA Christians and was built to contrast with the traditional Buddhist ceremonial entrance of the Buddhist Temple on the east side of the same block. With the evacuation order coming down, JA Christians were gathered in front of the Christian Union Church and from there, they too were bused to Santa Anita Race Track.”
And if the historical past was not reason enough for the city to have a unique stake in the Allegiance story, Takei points out that, “Allegiance still lives here in LA” with the “JACCC, the Isamu Noguchi sculpture in the plaza, the Go For Broke Memorial Monument and in a cozy side plaza beside the JACCC, the Memorial Honor Court of War Veterans are all stirring reminders of the sacrifice, anguish as well as the resilience and indeed the true patriotism expressed in so many countless ways by JAs during the war years. One cannot not be aware of our history in Little Tokyo today.” Hillary Jenks has studied Little Tokyo as a lieu de mémoire. The place of memory serving as places that “not only recall the past but also represent lost alternate futures, making them constant reminders of the social and political consequences of previous choices rather than depoliticized diversions.” Takei’s deft recalling of the various nooks and crannies of this “ethnic” enclave in downtown Los Angeles, the presence of historically significant landmarks, and the inspiration that they lent to the creators of Allegiance to formulate and share the story signifies the importance of this neighborhood as a continued determinant of Japanese American identity even when gentrification rapidly changes the demographic makeup of the area surrounding this neighborhood. However, the changes effecting the community today won’t be the first time that this stretch between City Hall and the Los Angeles river have had to forcefully undergo a change of character to accommodate rapid social changes.
JACCC, the Isamu Noguchi sculpture in the plaza, the Go For Broke Memorial Monument and in a cozy side plaza beside the JACCC, the Memorial Honor Court of War Veterans are all stirring reminders of the sacrifice, anguish as well as the resilience and indeed the true patriotism expressed in so many countless ways by JAs during the war years. One cannot not be aware of our history in Little Tokyo today.
The forceful Japanese American relocation under Executive Order 9066 opened up a vacuum that was quickly filled by other minority communities—especially African Americans and Hispanic Americans. The Bronzeville period of this neighborhood was a result of the rapid westward migration of African American populations during the war. Segregated housing laws did not allow this new population to find reasonable accommodation resulting in the city’s newest residents squatting in houses and structures abandoned by the Japanese Americans. Takei reminds us how Little Tokyo landmarks, like the Nishi Hongwanji Buddhist Temple, were opened up to welcome the new African American Baptist congregation in order to hold Sunday services. Takei imagines that “during the war, this Buddhist Temple rocked with the foot stamping, hand clapping ‘Hallelujahs’ of Southern Baptist Sunday services” in the Providence Baptist Church. The same holds true for Union Church which also “welcomed African American congregants until the return of the JAs after the war.” The African American settlers in the Japanese enclave were hopeful of turning the struggling neighborhood around, but popular perception of the area as “the city’s most notorious problem neighborhood quickly overshadowed Bronzeville boosterism.” The neighborhood struggled under the pressure of the sudden growth in population driven by Los Angeles’ racist and restrictive housing laws. The California Eagle aptly summarized the situation, “With 95 percent of our town locked, bolted, and barred against us the Negro is bound into a ghetto as fast as any which binds the Jewish people in Germany today.”
The pressure on the already strained resources increased with the return of the Japanese American internees back to Los Angeles from their encampments. Takei recalls relocating back to Little Tokyo after he and his family were finally released from the camps. By then Bronzeville was a shadow of its confident resilient former self and was “skid row.” In Takei’s words, “It was a place for the poorest of the poor, and it was to be honest a harrowing experience—dirty, crowded, and crime-ridden.” The relocation was horrific enough for Takei’s sister to wish that they were back home to the camps, which Takei suggests were “at least clean even for a prison camp.” The African American residents of Bronzeville and the Japanese American stakeholders of the erstwhile Little Tokyo tried finding common ground to resist the racist segregationist policies and practices of the Los Angeles city council and the War Relocation Authority (WRA) respectively. In spite of concerted efforts from community leaders and some positive movement in reconciling the differences that separated the two communities and their efforts to achieve financial and social recognition in white America, “the events of the war had set in motion a divergence of experience between Black and Japanese American[s] that would … prove too wide to reconcile.” The shrinking landscape of the symbolic Little Tokyo “became a target for Civic Center expansion in the in the 1950s.” The development forcefully replacing residents with parking structures and the new police headquarters. The bureaucratic encroachment of the city into Little Tokyo was resisted by the Little Tokyo Redevelopment Authority or LTRA which was created in 1963 to prevent “external land grabbing.” In the 1970s, the LTRA development plan joined forces with the Community Redevelopment Authority (CRA) and Little Tokyo subsequently began its transformation. It thus was turning into a commercial area bearing the kitschy signs of Japanese-ness that would attract a tourist population often at the expense of the ubiquitous Japanese American features that it had celebrated since it was settled in the late nineteenth century.
The forceful “Japanization” of the area was also resisted by second generation Nissei Japanese Americans who spearheaded efforts to locate within the boundaries of Little Tokyo memory artifacts and promoted ethnic, historical, and cultural venues in the neighborhood. As the child of an Issei father, and a Nissei mother, George Takei seemed to have been at the hub of the Little Tokyo redevelopment. Looking back at the 1980s effort to stop “Japanization,” Takei recalls how
In the late ’80s, actress Beulah Quo and I spearheaded the fundraising drive to adaptively reuse the old Union Church as the new home of the EWP. Just before the turn of the century, in the late 90s, the EWP staged its gala opening with a new artistic director, Tim Dang, a new 250 seat theater and a spectacular production of Sondheim’s “Pacific Overtures.” When EWP presents stories of the internment, it is told in a building that resonates with the heartbeat of the people who were gathered right in front of those four Ionic columns. Union Church today is a living landmark that tells the story that happened in and around its walls.
Jenks’ refers to the 90s effort to resist the touristic commercialization as a “suffocating pilling-on” of cultural memorabilia. The urge to pile on memory seemed to have stemmed from the need of the community to retain Little Tokyo as a lieu de mémoire (a place of memory). A location like this is peppered with landmarks that serve to remind the community of their Japanese roots. Fundamentally, the “internment demands they remember.” It is no surprise, then, that Takei celebrates the current avatar of his former neighborhood as a “vibrant JA community that welcomes all people to enjoy, discover and learn from the cuisine, the performances and our cultural heritage. It is not simply a ‘commercial’ district. It is a healthy, living and lively community with a unique cultural and historic heritage.” Locating Allegiance in this part of town which is so integrally connected to the story that the play shares therefore becomes as much of a political decision as it is a logistical necessity.
Allegiance, the musical is a reclamation of a history and curating it for retelling strictly from the victim’s perspective. The creative team at the helm of the show chose to soften the critical and historical blow by not creating a scathing drama, but rather a mellifluous musical that, barring its occasional highhandedness, holds its act very firmly together. And in the process the play weaves a musical journey that is reminiscent of the classic American musical. It is interesting that both Allegiance and David Henry Hwang’s Soft Power, (which held its world premiere barely a month after Allegiance closed) both use music that is not fiercely original but somewhat of a throwback to the greatest among the showtunes. Much of mainstream criticism of these new works have therefore criticized the music for not being original. It seems a deliberate choice on the part of the creators to critique erroneous representations of Asia and Asian-ness in much of mainstream musicals. It is also a quick draw for the crowds who are then introduced to a history, this new perspective, or even a story that they would have been hitherto clueless about. However, the musical as a form still has its ways of encompassing expressions that are beyond what has been used as definitive examples. Takei explained that every evening he witnessed audiences celebrating the work of the team both during the Broadway run of the show and beyond. And this popular reception seemed to have carried more weight for him and the others in the Allegiance creative team over the not always favorable critical responses that the team garnered. Audience enthusiasm and support continue to be the mainstay for musicals like Allegiance and Soft Power, which may quite possibly only continue to be unfavorably reviewed by mainstream critics who judge these works on the same parameters as most mainstream musicals, and without the nuance of the historical lacuna that the musicals aim to address.
East West Players’ artistic director and the director for the Los Angeles edition of Allegiance, Snehal Desai, mapped out the journey that led to the musical’s eventual coming to Los Angeles during an informal afternoon chat in the EWP premises in downtown Los Angeles. After the Broadway opening, the EWP felicitated members of the Broadway company at the EWP annual gala. George Takei himself continues to serve as a co-chair with his husband Brad of the EWP council of governors and has nurtured and nourished the company for the entirety of its existence. It was therefore only natural that the EWP were involved in conversations regarding the musical’s future after the Broadway run. And after plans for a national tour were shelved EWP teamed up with JACCC and the production team to bring the musical home to Los Angeles.
Desai decided to don the director’s hat himself because he wanted someone who hadn’t seen the musical to reimagine this edition. Even though he was in close proximity to the musical when it was developing from an idea to a fully realized musical, he had neither seen nor personally heard it. The decision to direct the musical was further motivated by his keen interest in politics, which was something that Desai cultivated during his college days as a political science major while simultaneously pursuing theatre. I quizzed Desai on EWP taking up the challenge of not only producing a play that had struggled to make a mark on Broadway, but also committing to a six-week run in an eight hundred seat theatre. Desai’s nuanced response downplayed the significance of Broadway as the benchmark for great theatre. He went on to say that a few decades ago, Broadway was thought of as the place where new voices and new works were to be seen but that has stopped being the case now when Disney is at the helm of several theatres and the entertainment on offer caters to a tourist crowd who watch plays to check off a bucket list item. And therefore, EWP did not balk from the lukewarm response to Allegiance on Broadway. They went instead with the fact that the show was one of the biggest successes at the Old Globe in San Diego. And Angelenos came out in large numbers to support the play. The overwhelming support that the show enjoyed in Los Angeles potentially could have stemmed from the politics of locating the play within the lieu de mémoire of Little Tokyo and the attempt of the neighborhood to strike a balance between touristy marketing and community engagement. Desai’s refuting of Broadway as a commercial rather than a critical benchmark for contemporary American theatre certainly hints at that direction as well.
The play temporarily enters the urban space of the neighborhood to offer a performed portrayal of not only the community’s reaffirmation of its distinct ethnic identity but also its relationship and resistance to literal and figurative encroachments of bureaucratic and economic forces.
Desai recollects that the Los Angeles edition of the musical came about at what was becoming an increasingly difficult political climate with regards to immigration. The exclusionary rhetoric employed by the current presidential administration towards citizens, citizens-in-waiting, and immigrants finds echoes in this shameful episode from fairly recent American history. An episode that some Americans are painfully unaware of to this day. Takei took me back to an even earlier political moment that the veteran actor heralded his team into during the 2015 Broadway run of the show. Takei says that the show’s creators could never imagine that the play would have such contemporary relevance even though he remembers that the warning signs were already visible. And so in, “2015, as then-candidate Donald Trump questioned whether the Japanese American internment was really such a bad thing, that he would have ‘had to have been there.’ We then invited him to see the show and reserved a special seat for him every night, so that he could ‘be there’ and learn this history.” The candidate never took the company up on the offer. Based on his recent experience of visiting the Texan border towns of Brownsville and McAllen, Takei reminded me of the ongoing vilification of immigrant communities and his memory of the internment, that “JAs cannot help but be reminded of our unjust incarceration and [so have] galvanized anew to fight for justice for others.” In Los Angeles particularly, the location of Allegiance near the various loci of power and the Metropolitan Detention Center (albeit not an ICE facility) is a powerful statement when seen in conjunction with Jenks’ characterization of the Little Tokyo district as a lieu de mémoire. The play temporarily enters the urban space of the neighborhood to offer a performed portrayal of not only the community’s reaffirmation of its distinct ethnic identity, but also its relationship and resistance to literal and figurative encroachments of bureaucratic and economic forces.
It was difficult to find tickets to the performance. The search was so difficult that I had to wait until the closing week to finally manage to scalp a ticket. Desai confirmed that the performance played to near capacity during most of its run, reaching roughly 200,000 folks over its course. Desai also talked about the Wednesday matinees which were for high school students. The company was really excited at the immersive day that the students would be having if they came for the play including a conversation with George, a survivor from the camps, the Go For Broke Monument, which celebrates and commemorates Japanese American soldiers who fought in 442nd Regimental Combat Team. And then visit JANM for a more hands on interaction with the history that they had just seen performed. Desai was thrilled at the way the community came out to support the telling of this important story and at the ways in which various people were able to relate to it on different levels—personal and historical. The company had anticipated some of this response and therefore as Desai confirmed they did their due diligence in terms of their historical homework. It is wise, however as Desai reminded me, to remember that this was the dramatization of a historical moment—a musical based on a true story, rather than a true story as it really was.
Japanese American critics vehemently have critiqued what they have termed as outlandish portrayals of camp life and the associated violence that comes with it. They all coherently contend that the “camp was degrading. It was dehumanizing.” Others have questioned how Frankie Suzuki’s resistance movement has been portrayed in the musical or how life in the camp was not as brutal as the musical would have us believe. Takei offers a nuanced take on the way this painful history was recreated for the stage. He acknowledges that the company was tasked with a “difficult job of creating a story that told many facets of all of our story, with respect to all of the camps in one location. This obviously meant that in some cases what we depicted might seem harsher than what some people remember at their own camps.” Based his own experience first at the Rohwer camp in Arkansas and later at the Tule Lake camp for the “‘disloyals’ in the community,” Takei recalls the harsh reality that “camp was brutal. There were beatings. There was enforced solitary confinement.” Historical fact is significant. An exception can perhaps be made under exceptional circumstances like in the case of Allegiance. The musical succeeds in instigating conversations about an issue that a vast majority of the American people are either ignorant about or would rather forget. And the success of the musical in this regard makes Takei’s confident assertion, “I’m proud of the story we told, and am not bothered by those who wanted a different one,” sound like a celebration for a just cause rather than a casual disregard for history.
Allegiance is a bold retelling of an episode that is often ignored in contemporary American history. And it is especially important that we revisit this historical period today when America faces several immigration challenges. Snehal Desai drew my attention to the parallels in language used to discuss and describe the Japanese in 1941-42 to the rhetoric from the top-down while discussing Muslims, Central Americans, non-white immigrants, and refugees today. The Los Angeles edition came about at what was becoming an increasingly difficult political climate especially with regard to immigration and immigrants. The exclusionary rhetoric employed by the current presidential administration towards citizens, citizens-in-waiting, and immigrants finds echoes in this shameful episode from fairly recent American history—something that a large number of Americans are painfully unaware of today. There seems to be more uncanny parallels between the time that we are living through in 2019 and the time when trucks rolled up in downtown Los Angeles more than seven decades ago to take citizens away from everything they had worked their entire lives for. The proposed amendments to the census forms, increased surveillance on non-citizens and their social media presence, and the erosion of civic discourse all seem eerily similar to the period that Allegiance puts squarely under scrutiny within its musical framework. More than anything else, this is perhaps the reason why it is such an important piece of work worthy of critical engagement. In several ways, this play is a metaphor for the city of Los Angeles—quietly significant, sprawling in its scope and possibilities, and irritatingly tedious at times. If so, then it is no wonder why it hit the mark here rather than in New York where many interpreted it simply to be this “singing history lesson” by someone who would rather be entertained while remaining oblivious to history.
And on a final point about George Takei, the headliner of Allegiance and an Angeleno by birth: I would be lying if I said that I went to watch the musical drawn by its story. I went to the Aratani to see Hikari Sulu in flesh and blood. I came away inspired, intrigued, and in awe of this octogenarian who has worked tirelessly over the greater part of the last decade to share a story that is at once extremely personal and yet universal in its ramifications. And, as if to counter the observation made by Kelvin Yu character Brian in A Master of None about Takei being busy with “gay stuff,” the social media phenomenon is a gentle presence on stage, essaying Ojii-chan as an affable grandfather who never ceases to lose his sense of humor and spirit. The older Sam Kimura, similarly bears the burden of family separation, witnesses war, and yet remained resolute as a soldier. Throughout the performance, Takei frequently takes himself to the background and makes room for an excellent group of young Asian-American actors to perform characters beyond caricatures and stereotypes. In the end, Allegiance celebrates inclusion like very few musicals are able to and, in the process, hopefully inaugurates a new kind of musical entertainment that is not intent on promoting superficiality when embarking on such relevant themes, but even more so informs and challenges the range of thematic possibilities.
George Takei as Sam Kimura in the original Broadway production of Allegiance. Photo by Matthew Murphy.
 See Roger Bruns, Zoot Suit Riots (Santa Barbara: ABC-CLIO, 2014) for a detailed study on the infamous riots instigated by US Servicemen against Mexican-American and African-American residents of downtown Los Angeles.
 See Jonathan H. X. Lee, Japanese Americans: The History and Culture of a People (Santa Barbara: ABC-CLIO, 2017) for a detailed study of the history of the community.
 Alison M. De La Cruz, “The Aratani Theatre: A Meditation on Impermanence,” Performances, March 2018, P10.
 George Takei, email interview with author corroborated by Scott Kurashige, “Bronzeville and Little Tokyo,” in The Shifting Grounds of Race: Black and Japanese Americans in the Making of Multiethnic Los Angeles (Princeton: Princeton University Press, 2008), 160.
 Hillary Jenks, “The Politics of Preservation: Power, Memory, and Identity in Los Angeles’s Little Tokyo,” in Cultural Landscapes: Balancing Nature and Heritage in Preservation Practice, ed. Richard Longstreth (Minneapolis: University of Minnesota Press), 39.
Master of None, Season 1 Episode 4, written by Aziz Ansari and Alan Yang, directed by Eric Wareheim, released on 6 November 2015, Netflix.
Arnab Banerji is an Assistant Professor in the Department of Theatre and Dance at Loyola Marymount University where he teaches courses on Theatre History, Indian Performance, and Diaspora performance. His research focuses on Asian American theatre, contemporary Indian theatre, and theatre translation. His articles and reviews have appeared in Asian Theatre Journal, Theatre Journal, TDR, Theatre Symposium, South Eastern Review of Asian Studies, among others.
California resides at the leading edge of so many big political issues of the day—immigration, the #MeToo movement, social justice activism, climate change—and we can add another one to that list: Housing. If some believe that the affordable housing crisis looms as the “next big political issue,” California could easily be its poster child. Crisis conditions have swelled for decades. It hits many, many people: the homeless in expanding encampments, their numbers recently reaching epic proportions; millennials struggling to find affordable digs in this jaw-dropping housing market, their searches triggering gentrification in low-income neighborhoods; working families struggling to put a roof over their heads. A recent study by the advocacy group Up for Growth found California leads the nation in housing under-production, falling short by a whopping 3.4 million homes in meeting demand and population growth.
There’s a metric called “housing burden” that reveals a lot. It shows the ratio of housing costs to income. For my recent work on the suburban history of L.A. County from 1945-2000, I gathered data that traced this metric over sixty plus years in the county, and it looks something like the following:
Sources: For 1950-2010, U.S. Census of Population, 1950-2010; for 2016, U.S. Census, American Fact Finder.
This is the kind of data that puts a pit in your stomach if you’re hoping to buy a home one day. I think of it this way: When my father bought our family home in South Pasadena back in 1966, it cost him about three years’ salary. Nowadays, it takes at least eight years’ salary if you’re even that lucky, and don’t hit a housing bubble, a recession putting you out of work, and or other potential macro-economic catastrophes working against you.
In metro areas like Los Angeles, San Diego, and the Silicon Valley, where suburban homes dominate the built landscape, it becomes more difficult to tackle this affordable housing problem. Strict zoning often limits the possibilities for in-filling or densifying built-up areas. Suburbia indeed is a particularly stubborn obstructer. If zoning doesn’t shut down the construction of affordable dwellings—like apartments—irate homeowners of all colors and classes will. They turn out in droves to oppose homeless shelters, low-income housing or Section 8 tenants, continuing a tradition of homeowner politics that’s been around for decades.
Informal housing represents a creative response to the housing crisis, gaining traction in California with the recent passage of laws on Accessory Dwelling Units (ADUs). These measures relax regulations on ADUs—like granny flats, converted garages, backyard cottages, and secondary units tucked away in suburban backyards—making it easier for homeowners to build them and even receive fee assistance. It’s a very decentralized, individualized solution to the housing crisis. Rather than foisting large housing projects on neighborhoods, it throws the initiative to individual homeowners to densify from within. This approach has a suburban feel to it. The units are often hidden from view thus preserving suburban streetscapes, and they’re homeowner driven. It’s a deft solution to a vexing problem exacerbated by the suburban form itself. While it may not solve the housing crisis, it can chip away at it at the very least.
In this piece, I explore one slice of the informal housing story, focusing on the history of garage dwellings from the 1920s to the 1990s. At times, I hone in on South and Southeast Los Angeles, a part of Los Angeles where housing always had a dimension of informality to it, reflecting the strategies and needs of working-class residents struggling to get by. For generations, they maximized the productive potentials of their property to help make ends meet, set within the context of suburbia—towns with single-family detached homes, yards, and families. As the ethnic profile of southern Los Angeles changed, those efforts met with harsher challenges and barriers. In a nutshell, informal housing began as an auspicious opportunity for working-class whites in the 1920s, took on patriotic overtones during World War II, and then was essentially racialized and criminalized by the 1980s when the area flipped from white to Latino. Informal housing was suppressed right at a moment when housing need was exploding. This history reveals how housing policy became entwined with immigration policy at the local level, creating formidable barriers to solving L.A.’s on-going shelter problem.
Urban scholars who have studied informal housing emphasize the diversity and ubiquity of these units, which sheltered elderly parents, grown children, extended family, care providers, and the like. They appear in a variety of class, ethno-racial, and spatial settings, from rich to poor, sprawling to dense. My focus on southern Los Angeles necessarily narrows my gaze onto a population of the lower middle class, working-class, and the poor, who have remained a constant presence in this part of L.A. While it reflects county-wide trends in some ways, in others this story was shaped deeply by local conditions. These suburbs flipped from all-white to all-Latino beginning in the 1980s, a moment when deindustrialization ravaged much of South L.A. This trajectory mirrored patterns unfolding across the U.S., where Latinos migrated right into the “urban crisis,” into cities and suburbs suffering from disinvestment and white flight, seizing opportunity where others abandoned it. In this maelstrom, informal housing was embraced and rejected—all at the same time—and it revealed the ways that suburbia was linking housing and immigration in new and disconcerting ways.
1920s: Working-class roots
In working-class South Gate, Huntington Park, Maywood, Bell Gardens, Watts, and surrounding neighborhoods in Southeast L.A., the streetscapes are suburban and always have been. Homes are modest, maybe squeezed in a little tightly, but they sit in tidy yards and gardens. Many are inhabited by families with children. And the overall physical profile is low-slung, with detached single-family homes, commercial strips, and shopping centers.
When these suburbs were first developed in the 1910s and 1920s, it was an auspicious moment in the history of metropolitan Los Angeles. It was a time when suburbia was an open, accessible, flexible landscape that offered working people the opportunity to become homeowners, practice small-scale homesteading, and in the process achieve a measure of self-sufficiency and independence. In suburbs like South Gate, this openness was created by the affordability of land and the town’s loose regulatory climate that allowed a family, for example, to live in a tent, jerry-build a house, and then raise dozens of chickens behind the house. These practices flourished in subdivisions like Home Gardens and nearby in Watts, Bell Gardens, Cudahy, and surrounding unincorporated pockets—where lots were small and cheap and families, poor. In these towns, the initiative for “development” was thrown to the homeowners who created their own version of sustainable suburbs. Their quotidian practices revealed a powerful ethic of self-reliance, frugality, hard work, and independence. And it gave residents a leg up, a chance to build a nest egg and secure shelter in uncertain times.
The wide-open spaces of early South Gate, March 1926. Ample, cheap land and lax regulation allowed working-class family to achieve a semblance of economic security in the young suburb, by self-building homes and informal structures. Reprinted in Huntington Park Daily Signal, 19 January 1973, p. C3.
This was especially crucial in the 1920s and early 1930s, when L.A. was rabidly open-shop and America still lacked a social safety net. Suburban homeownership became that safety net, in a world where sickness, layoffs, or old age could sink a household. For working-class families especially, the home was a source of economic security, something they could fall back upon in hard times. To squeeze all they could out of their property, they grew fruits, vegetables, and small livestock in backyards, took in boarders, or ran small businesses out of the home. Sweat equity—exerted in suburban yards and homes—became paramount. It gave them access to property ownership free of debt and a cherished economic cushion. In a suburb like South Gate, it was an achievable goal.
Do-it-yourself construction was quite common, with many residents self-building their own homes. Daniel Smith’s family was typical. They constructed a small but sturdy home in 1926, soon after their arrival from Tennessee. During the building phase, they lived in a tent at first, and then a detached garage they constructed. The whole family helped out—including four young daughters—laying floorboards, handing nails to dad, and fetching tools. In a similar way, another Smith family—Frank, Estafana, and two daughters—lived in a modest home Frank built himself, two blocks away from “the sandy banks” of the L.A. River. She was an immigrant from Mexico, he from Germany. In 1920, thirty-six South Gate families were living in garages while building their own homes. The loose regulatory climate of these suburbs allowed these practices to flourish and lent the entire suburban landscape an air of informality. The homes were ramshackle, following few if any building regulations. These were grassroots, bottom-up strategies for grasping a semblance of economic security in insecure times. Especially for the white working-class such informal practices offered a crucial mode of economic sustenance.
Thanks to a host of race restrictions in place, the overwhelming majority of residents in these suburbs were white. Even so, some Mexicans managed to gain a foothold in the early years, in towns like South Gate, El Monte, La Puente, and Azusa. South Gate’s Mexican households included immigrants, second generation, American-Mexican intermarriages, and a small colony of Mexican-born “white” Mormons who had been caught in a decades-long circular migration from the U.S. to Mexico and back again. By 1930, at least 175 residents of South Gate were Mexican immigrants and their kin, many of whomhad immigrated around the 1910 Mexican Revolution. They represented 0.9 percent of the local population. Of these ethnic Mexican households, homeowners outnumbered renters, a remarkable fact given that most of these owners were classified by federal authorities as “alien.” South Gate’s earliest undocumented immigrants thus had managed to achieve home ownership within the suburb’s affordable, open, unregulated environment. Yet for most, that advantage was short lived—by 1940 many had left, possibly deported during L.A.’s 1930s repatriation crackdown, or in search of something better during the Depression. The security that whites achieved through homeownership eluded most of South Gate’s earliest ethnic Mexican families, likely because of their insecure immigration status.
The southern suburbs of L.A. were shaped deeply by these working-class roots, which generated opportunities along with certain formidable challenges. Early residents created towns out of shoddy housing, minimal infrastructure, and loose regulations. Rickety self-built homes, small detached garages, and cheap utilities made up the young bones of these communities. This established not only their physical foundation, but also local traditions of self-building, informality, and the expectations that homeowners could do whatever they pleased to maximize their property’s economic potential. This local culture gave working-class suburbanites a crucial economic edge, and it was built into the DNA of suburbs like South Gate and nearby towns.
Smith Dad. The Smith family of Pond Switch, Tennessee included Daniel, Jessie, and their four daughters. When they settled in South Gate in 1926, they build their family homes themselves – with everyone helping out. (Photos courtesy of Juanita Smith Hammon).
Smith Mom. The Smith family of Pond Switch, Tennessee included Daniel, Jessie, and their four daughters. When they settled in South Gate in 1926, they build their family homes themselves – with everyone helping out. (Photos courtesy of Juanita Smith Hammon).
Smith Kids. The Smith family of Pond Switch, Tennessee included Daniel, Jessie, and their four daughters. When they settled in South Gate in 1926, they build their family homes themselves – with everyone helping out. (Photos courtesy of Juanita Smith Hammon).
Working Class House. Homes in 1920s South Gate were often jerry-built by residents themselves, lending an air of informality to the suburban landscape. Photos courtesy Glenn Seaborg.
Homes in 1920s South Gate were often jerry-built by residents themselves, lending an air of informality to the suburban landscape. Photos courtesy Glenn Seaborg.
1940s: Informal Housing as Patriotic Duty
By the 1940s, dramatic changes were afoot. The rise of the New Deal established a social safety net under American families—namely white families—gradually easing those everyday survival pressures. The labor movement gained momentum in Los Angeles and nationally, putting working-class families in a stronger position. And then World War II broke out. In the meantime, the combined pressures of the Depression—when home construction had come to a screeching halt—and the massive influx of defense workers to California created a housing shortage of epic proportions. South Los Angeles especially felt the squeeze, since this was where nearly half of the southland’s defense plants were located. In South Gate, the population spiked from 27,000 to 45,000 during the war. Yet local housing fell far short of need. By 1946, the crisis prompted seventy-five members of veterans groups in South Gate to petition the city council for immediate completion of city-sponsored emergency housing.
This set off a major push to create housing for the millions pouring into California, including servicemen and women, defense workers, and other migrants. One huge initiative was launched by large-scale builders who drew on new federal supports and guidelines to mass-produce suburban homes at unprecedented scales. Los Angeles builders (like Fritz Burns) were pioneers, applying new mass-production techniques to the construction of homes. Developments like Westchester, Panorama City, and Lakewood were examples of this mass-building push to meet the intense demand for housing during and after the war.
Another initiative was to encourage homeowners to convert rooms or garages to rent, a campaign that spread across L.A. County. Officials framed it as a patriotic gesture to help alleviate the housing crisis for homeless servicemen, along with defense workers and their families. In South Gate, the local war housing council put it like this: “Rent your houses to a war worker with children, and be thankful those kiddies are speaking our American language instead of Japanese.” South Gate property owners were urged to convert habitable spaces into actual living quarters, then list those units with a War Housing Center as a “patriotic duty.”
The appeals worked. They spurred local homeowners to convert spare rooms and garages into rentals, a phenomenon happening all over Los Angeles. In 1945, a thirty-one-year-old veteran, his wife, and two kids spent nearly a year living in a garage in nearby Lynwood, with dirt floors and no plumbing or heating.. He claimed that they suffered no sickness because his wife “kept the place as clean as a pin.” In 1946, William Price, a fifty-five-year-old warehouse foreman, and his wife Edna were living in a double garage in South Gate. That same year, a family of four was living in a single garage in South Gate after moving from Oak Ridge, Tennessee where the daughter was “affected by atomic rays.” Another couple (a veteran and his wife)—was living for several months in a single room, “from which they were evicted just a few hours before their baby was born.” Similar stories continued into the 1950s. In 1952, a disabled veteran lived in a small dwelling behind a home in Huntington Park. The same year in the nearby Central Avenue district, a seventy-one-year-old pensioner was living in a garage cited for its “unsanitary conditions.” By 1961, the residue of these practices became clear even in the San Fernando Valley, where hundreds of homes had conversions for rent—garages, spare rooms, and add-ons—a practice that began during the WWII housing shortage. The practice was common in suburban areas across the country, even as far away as Long Island, NY.
A 1942 ad in the South Gate Press encouraged home owners to build rooms that could serve as rental units for defense workers, who desperately sought housing during the war. South Gate Press, 8 January 1942.
Los Angeles Times profiles of garage conversions during and after World War II celebrated the resourcefulness of homeowners who created these informal housing units. They were praised as patriots performing an important duty by helping alleviate the housing shortage. Los Angeles Times, 15 May 1949.
Los Angeles Times profiles of garage conversions during and after World War II celebrated the resourcefulness of homeowners who created these informal housing units. They were praised as patriots performing an important duty by helping alleviate the housing shortage. Los Angeles Times, 2 September 1945..
The popular discourse surrounding these units reflected not just acceptance and praise, but a belief that informal housing was downright patriotic. In the 1940s and early 1950s, the Los Angeles Times ran a series of features profiling garage conversions across the southland, from North Hollywood to Arcadia to Palm Springs. These stories offered good housing-keeping style tips on how to design and decorate a garage, complete with floor plans, and they presented the profiled garages as “model dwellings.” The subtext was clear: A wholehearted acceptance of garage rentals, with an appreciation for the resourcefulness of their white tenants who were making the best of a tough housing market. “The garage apartment where Charles Hofflund and his British war bride are living is an excellent example of how ingenuity can triumph over necessity,” declared a 1946 feature. The couple divided a double garage into a bedroom on one side and a living room and kitchen on the other. Through cozy decorating touches, such as pale green wallpaper and maple furniture, the tenants gave their garage “the air and informality of a cottage.” A 1947 article noted the temporary nature of the converted garage and praised its occupant—who happened to be an interior designer—for the cheerful, colorful flourishes she brought to the small space. “There is no feeling of ‘make do’ … of grinning and bearing life in a garage while waiting for building conditions to become more settled. Everything is so ingeniously planned, so adroitly placed and so pleasant to the eye that try as you may you can’t feel sorry for the Faulkners.” In West Arcadia, Dr. and Mrs. Milo Sweet converted a garage into a “liveable and attractive little cottage—all within a matter of less than two months.” With a minor addition, the garage was expanded to accommodate a living room, bath, kitchen, dining nook, and child’s room. “The cement floors were painted an ashes-of-roses tone to blend with the rug…. A needlepoint chair brings all the room colorings together in a Colonial bouquet…. The kitchen in this little cottage is light, airy, beautiful and practical.”
A 1945 feature epitomized the cheerful praise, with the eye-grabbing headline, “A Garage Goes Formal.” The writer described the unit as “very dignified and sophisticated… this garage is frankly elegant with decorator touches that any city apartment might envy.” This was a second home for the dweller, who converted the garage to be closer to work. The Times praised his resourcefulness, and the fact that this was a DIY project all the way. The front door was salvaged from a junk yard, and the living space included a small kitchen, shower, and lavatory. The interior was decorated with red and white striped wall paper, a mirrored dressing table and crystal lamps, giving the space a “surprisingly Victorian atmosphere.” In all of these features, the tone was admiration for the plucky, creative ingenuity of the people doing the conversions, who could serve as a model for others. In this particular context and with these Anglo occupants, garage conversions enjoyed an aura of legitimacy and patriotism.
1980s: Immigrant Suburbia and the Criminalization of Informal Housing
By the 1980s, Southeast Los Angeles experienced another sea change. Factory closures swept the entire southern part of L.A., transforming it from a vibrant center of industrial production to L.A.’s own rustbelt. By the mid-1980s, over 40,000 jobs in the southern suburbs were lost to plant closings and indefinite layoff. South Gate alone lost over 12,500, mostly high-wage union jobs. Not surprisingly, real estate prices plummeted as the bottom dropped out of the local economy. This downturn in prices became a moment of opportunity for home-seeking Latinos. As a result, south and southeast Los Angeles experienced a radical demographic turnover from white to Latino. The entire area essentially resegregated, as the population boomed.
In many of these suburbs, the Latino population included both a small middle class and a swelling cohort of working-class and working poor families, many of them recent immigrants from Mexico, with smaller numbers from Central America and Cuba. In South Gate, from 1970 to 2000 the number of families below the poverty line rose from 7.4 to 17.4 percent of the total population. By 2000, 17,612 people in South Gate lived in poverty, many of them undocumented immigrants.
This human inflow sparked yet another housing crisis in South Los Angeles. While real estate prices had indeed tanked, the existing housing inventory did not come close to meeting the spiking demand for affordable housing. In South Gate, the very suburb was partly to blame for this crisis. In the 1970s and 1980s, local leaders refused time and again to build affordable housing, even when they had the funds to do so. While they went after federal grants to attract business and industry—to fill the gaping hole left by the plant closures—they directed little of those funds to low-income housing, even when that money was earmarked for it. In some ways, leaders in suburbs like South Gate and Bell Gardens used redevelopment money as a sort of “slow growth” tool: build for industry and retail, but not housing, since housing would draw more residents. These policy approaches uniformly backfired, resulting not in a slower influx but in an exploding housing crisis as the local population continued to soar. From 1980 to 2010, South Gate’s population rose from 64,000 to 94,000—and probably even higher because of census undercounts. This dynamic created a new system of housing usage, driven by poverty and immigrant insecurity, that transformed these suburbs into spaces of ultra-high density living where informal housing drove the trend.
In the 1970s and 1980s, L.A.’s southern suburbs entered the third phase of informal housing: An extensive “shadow market” of unpermitted rental units tucked away in suburban backyards and detached garages. Just as previous generations of working-class suburbanites sought to maximize the economic potentials of their homes, many of South Gate’s Latino residents sought to do the same by squeezing all they could out of their properties. This time, it was playing out in the larger local context of economic distress, constricted job prospects, and immigrant poverty. They jerry-rigged small rental units out of detached garages, constructed lean-tos, or otherwise found creative ways to shelter tenants. These practices were enabled by the loosely regulated climate of this working-class suburb—generations in the making—that endured through the 1970s.
Planning scholar Jake Wegmann has remarkably documented the rise of these units in Southeast Los Angeles from the 1980s to the 2000s. He identified two main modes of informal housing: the conversion of existing space, and the addition of new space. These included partitioning a single-family home into multiple separate living spaces, converting garages into living spaces, transforming a home into a bunkhouse for “hot-bedding,” building onto a home in the back, and using a habitable vehicle or structure (like an RV or tool shed) on the property. This was a “deeply participatory” landscape, he notes, created by working-class people facing a brutally tight housing market. There were similarities to South Gate’s earliest working-class pioneers who self-built their homes; the crucial difference was that much of the latter-day working-class population lost out on the ultimate pay-off of everyday discomfort—property ownership.
By the early 1980s, these informal units spread across the southern suburbs. Conditions varied from decent to horrific. In 1981 in Huntington Park, three adjacent double garages along an alley housed ten occupants. The living was rough—an extension cord ran from the front house to each unit, mattresses were spread wall to wall on the dirt floor, and a hot plate and refrigerator served as a makeshift kitchen. While the tenants had a portable television, they lacked plumbing—using a five-gallon can or a laundry sink as a toilet. A Huntington Park building inspector estimated that 50 percent of the suburb’s garage tenants were undocumented immigrants. In Norwalk in early 1981, a “small shed city” was erected behind two homes, consisting of ten metal garden sheds sheltering sixteen families. They jerry-rigged cooking and bathroom facilities in the same structure. In nearby Bellflower, most of the conversions were built by professional contractors and were “quite attractive,” according to a code enforcement office. The situation was more dire in Maywood, where hazardous conditions were reported—from raw sewage running under floors to exposed light sockets. Similar informal housing appeared in many poverty pockets across Southern California—from San Fernando, Pacoima, and Arleta to the north, to Santa Ana, Anaheim, and Long Beach to the south. In 1987, the Los Angeles Times published an expose on these illicit conversions, emphasizing their dire conditions and their tendency to house immigrants. While some scholars emphasize the ubiquity of informal housing—across space, time, and class—this working-class form concentrated especially in the southern suburbs, like South Gate, Huntington Park, Bell Gardens, and Maywood.
In South Gate, the practice was quite widespread by the 1980s. In 1987, an estimated 20,000 people—about 20 percent of South Gate’s population—lived in a converted garage. A conversion, which could cost anywhere from $5,000 to $8,000 in the 1980s, might involve installing dry wall, tiles on the floor, and dividing walls for a makeshift bathroom. The garage door was often covered over with dry wall, eliminating that exit and concealing the living quarters if the garage door was opened. Health hazards ran rampant—cold drafts blowing through, poor ventilation, inadequate kitchen facilities to ensure food could be properly cleaned, cooked, and refrigerated, and the absence of bathrooms.
Fueled by this shadow housing supply, the density levels in the southeast suburbs reached astronomical levels by the 1990s thus creating a pattern Jake Wegmann terms, “horizontal density.” Maywood was the most densely populated town in California and among the most crowded in the nation. According to a study by the California Department of Finance, Southeast L.A. contained four of the five densest cities in California, including Maywood, Cudahy, Huntington Park, and Bell Gardens—the first three running ahead of San Francisco. Maywood had 25,083 residents per square mile, compared to 16,927 in San Francisco. Only a handful of cities on the east coast—including the boroughs of Manhattan, the Bronx, and Brooklyn—topped these levels. In towns like Maywood, the numbers were remarkable because that density was achieved mostly in one or two-story suburban homes and apartments.
As shocking as it could be, this system of informal housing fulfilled the mutual needs of property owners and renters. For property owners, these rentals helped them make the mortgage payment every month and accrue savings. For renters, it was a survival strategy. Tenants were often undocumented immigrants, many arriving cash strapped after spending hundreds of dollars to cross the border and then ending up in low-wage jobs. For them, a garage rental was a viable option in L.A.’s tight, costly housing market; and the informality enabled them to evade the regulation of an apartment rental. Because everything was under the table, there was no lease agreement, no references were required, and instead of a hefty security deposit, a tenant could move in with just first month’s rent. For some, informal housing was a family-based strategy to provide shelter and pool resources. South Gate code enforcement officer Veronica Lopez estimated that in the 1980s at least 60 percent of conversions were done for family members.
Garage conversion. Photo courtesy of Jonathan Pacheco Bell.
This informal housing system created a novel scenario of interclass proximity in suburbia. Contrary to more typical suburbs that excluded the poor, these communities not only housed the poor but did so in the most integrated, intimate way—within the spaces of domestic homes and property. The poor were not relegated to housing complexes or fringe settlements. They were interspersed in backyard garages, rental rooms, and ad-hoc backyard dwellings, physically present in the suburbs’ most private spaces. Despite all efforts to eradicate these spaces, the system persisted and adapted, housing a permanent resident underclass in South Gate. By 2011, South Gate had a comparatively low homeless population, suggesting that this system helped keep people off the streets in some type of shelter, however substandard.
In the 1980s, local leaders in South Gate and some of its neighboring towns launched a massive crackdown on these units. This represented a jarring break with the past in that it was the first time local informal housing was criminalized and heavily regulated. Not surprisingly, it was also identified as an immigrant problem. These measures were part of a broader clampdown on Latino public life in South Gate that was meant to preserve a more traditional Anglo suburban aura that many felt was slipping away. Some leaders behind these campaigns were Latinos, recently elected to local office. The spatial policing that ensued represented a local layer of the state’s apparatus that rendered undocumented Mexicans “illegal” in the context of everyday life. For the first time in its history, local leaders transformed South Gate from a loosely regulated into a highly regulated suburb.
Part of what drove this shift was the intensifying pressure on local jobs, services, and infrastructure, which many blamed on the immigrant influx. Reeling from the mass exodus of factory jobs, intense anxiety over job losses led to scapegoating of Mexicans and “illegal aliens.” In 1984, the South Gate Press ran a front-page story declaring, “Illegal aliens said to take most new jobs.” Strains on local services and infrastructure were likewise blamed on immigrants, whose presence in shadow housing overtaxed water systems, sewers, and the schools. South Gate, in fact, was suffering from massive overcrowding in its schools, which forced the adoption of a year-round school schedule and bussing kids to schools as far away as the San Fernando Valley. Many blamed the school crisis on the housing situation.
A crackdown ensued. Local leaders launched a spatial “law and order” campaign that built upon prior 1960s city beautification efforts, but it did indeed take things in a more punitive, racialized direction. It deployed the teeth of local regulation and enforcement to codify the strictest land use measures in the town’s history. These rules were meant to ensure a suburb of properly utilized single-family homes and public spaces, and they were implicitly aimed against Latinos who were perceived as the main violators. This spatial crackdown was a broad initiative across the southeast suburbs, with Bell, Bell Gardens, Cudahy, Maywood, Lynwood, and Huntington Park initiating similar campaigns against suburban “decay,” “eyesores,” and garage conversions. South Gate’s measures were among the strictest.
In 1981, the city council launched a protracted campaign against informal housing. It began by beefing up the suburb’s enforcement authority around building code violations. An amendment to the municipal building code allowed the city to take violators “directly to a court judge” and re-designated violations to a fine-able “infraction” of the law. Henry Gonzalez, who in 1982 became the first Latino elected to the South Gate city council, carried the momentum forward. In 1983, during his first mayoral term, he began a proactive campaign of spatial policing. It started with a monthly “mayor’s tour” of South Gate, where he and other local officials climbed into a van and roamed the suburb in a quest to “find the ugliest spots in town.” They jotted down addresses in violation of city codes, including illegally converted garages.
A 1983 ordinance sealed the effort by mandating the proper care of local properties. Residents were required to mow lawns, pull weeds, paint homes, keep yards clear of cars, clotheslines, and junk, and refrain from unauthorized conversions. Violators would face criminal misdemeanor charges, with a fine of $1,000 or six months in county jail. The next year, South Gate’s “fight against blight” included ramped up enforcement: A new team of six building inspectors—equipped with shiny, white 1984 Ford Escorts—were empowered to patrol the suburb and issue citations on the spot. This system of spatial policing, adopted by Huntington Park in 1980 and South Gate in 1983, was fairly rare; one Huntington Park official estimated that one in one-hundred cities empowered building inspectors to issue citations, much like a police officer. In 1985, South Gate passed a pre-sale inspection ordinance, which required a city inspection of all homes for sale, a measure expressly designed to combat illegal conversions. It essentially inserted city authority into a private transaction, giving officials a handy means for scoping out violators. This new enforcement apparatus represented a key turning point—property regulation shifted from a reactive system that responded to complaints, to a proactive, well-funded system that sniffed out violators.
Occupied RV. Photo courtesy of Jonathan Pacheco Bell.
Local debates around these measures reflected a racialized view of informal housing, by those both for and against the crackdown. They shared the view that the prime culprits behind informal housing were Latinos, often undocumented. Those who voiced opinions were mostly Anglos or American-born Mexicans, who felt empowered to express opinions at public meetings. Opponents of the pre-sale law were mostly Anglo realtors who feared the measure would hamper home sales, and long-time white residents who felt the law was an infringement upon their property rights. Dorothea Lombardo, a longtime resident, told the city council, “it was understood by the citizens that the ordinances were intended to keep illegal aliens out of the City but that law-abiding citizens are being hurt by these ordinances.” Lombardo had little sympathy for the undocumented and felt South Gate ought to use the INS—rather than city resources—to crack down on illegal conversions. Such an approach would kill two birds with one stone—eradicating both illegal housing and “illegal aliens.” Councilman Del Snavely voiced the opinion of some white residents that the laws should be selectively enforced—targeting units rented out unlawfully, but “grandfathering in” garage conversions done before 1960 (implicitly, by white residents).
Other opponents saw the new law as a civil rights violation. For example, Gregory Slaughter complained to the city council that inspectors “told him they wished to check his garage for illegal aliens” and he believed “this to be a violation of people’s rights particularly in regard to searches.” Larry Swisher claimed the housing crackdown had deeper implications: “The council wanted to get the illegals out of garages. They avoided saying it…” out of a fear of offending Latino residents. Local officials ultimately showed some flexibility in financial hardship cases—homeowners forced to undo garage conversions—but this forgiveness extended mostly to homeowners not using garages as rental units.
In the eyes of some residents, housing inspection had become a local tool of immigration control, despite the insistence of city officials that they were “concerned about enforcing civil rights in this community.” The system implicitly used housing code enforcement to regulate undocumented residents, and encouraged neighbors to turn in people they saw violating housing regulations. South Gate set up a hotline, and deployed code enforcement officers, the police department, and building inspectors to follow up on tips. By this point, informal housing had taken a wide pendulum swing in South Gate—begun as a viable survival strategy in the 1920s, encouraged as a patriotic duty in the 1940s, and then fully criminalized by the 1980s, when the practice had become racialized and linked to undocumented Mexican immigrants.
Similar conditions and crackdowns occurred across Southern California—it wasn’t just a South L.A. thing. In the early 1990s, the Los Angeles Times reported on the ubiquity of garage conversions, from Temple City to Simi Valley to South Laguna. In the beach cities of Manhattan, Redondo, and Hermosa, illegal conversions were rampant as rents there skyrocketed. Young adults, single parents, seniors, and the poor lived in garages, like the two illegal units Edward Roszyk added onto his house in Redondo Beach. In another Redondo Beach home, the landlord lined his wine cellar with bunk beds and rented it out to sixteen Latino immigrants. Redondo officials received five bootleg complaints a month in the early 1990s. In wealthy Simi Valley, there were reports of single-family homes sheltering four to five families, and a family of nine crowded into a single converted garage. The crackdowns similarly spread—and many targeted Latino renters. In 1989, the City of Los Angeles clamped down on garage conversions in South Central—for the first time in over twenty years—when Latinos began moving into the area. And clear to the north in Santa Clarita, officials launched nighttime raids in 1991 on illegal garage conversions, targeting that sprawling suburb’s neighborhood of East Newhall, where Latinos were 90 percent of the population. Two members of the Santa Clarita city council were vocal supporters of the raids, hoping they would drive out “illegal aliens.” As one put it, “If we make housing more difficult to find for these people, hopefully, they’ll move on.”
Just two months ago, the Los Angeles Times ran a front-page story by columnist Steve Lopez on garage living among LA’s poorest. Like the Times expose back in 1987, Lopez’s column delivered a powerful emotional punch. He described how Alejandra and her two children lived in a garage in Pacoima for $900 a month, the small space partionened into a tiny kitchen, main living area, a small bedroom with bunk beds, and bathroom. The walls were plastered and painted, a cage with chirping parrots sat nearby, and the space smelled of homemade soup boiling on the stove. Modest as it was, said Alejandra, it was better than what she had back in Mexico. The teachers at the local school elementary school claimed that garage living has been on the rise in recent years. The practice and the need, clearly, are still with us.
Moving Toward Solutions
This story shows how policies toward informal housing have varied throughout the years, depending on factors like a particular socio-economic context, depending on who the landlords and tenants were, and depending on who was making such policies. Mexican immigrants were particularly vulnerable targets of housing crackdowns, exacerbating their insecure status via new modes of localized regulation upon everyday life.
Urban planning scholars like Vinit Mukhija, Jake Wegmann, and Jonathan Pacheco Bell have all argued persuasively that we need more flexible policies on informal housing if we ever hope to solve the crushing housing crisis in California and even across the nation. Such policies might support the practice of creating accessory dwelling units by providing resources and guidance for making these dwellings safer through upgrades and fixes. Total prohibition is not a productive approach. Especially in suburban communities, where we must devise ways to utilize land in more economical, efficient ways, informal housing holds immense potential.
As Vinit Mukhija and Anastasia Loukaitou-Sideris point out in The Informal American City, informality has the paradoxical nature of being both productive and exploitative, and—sometimes both at once. The challenge for policy is to emphasize action that privileges the poor instead of punishing them. California’s new ADU laws are a step in the right direction, but we still have a long way to go. Once suburbanites and their elected leaders grasp the positive potential in informal housing—and the fact that it’s been around in L.A. a very long time—we may move a step closer toward solving our intractable affordable housing crisis.
Occupied Garden Shed. Photo courtesy of Jonathan Pacheco Bell.
 For example, see James S. Duncan and Nancy G. Duncan, Landscapes of Privilege: The Politics of the Aesthetic in an American Suburb (New York: Routledge, 2004); L. Owen Kirkpatrick and Casey Gallagher, “The Suburban Geography of Moral Panic: Low-Income Panic and the Revanchist Fringe,” in Christopher Niedt, ed., Social Justice in Diverse Suburbs: History, Politics, and Prospects (Philadelphia: Temple University Press, 2013), 31-53. A recent round of suburban protests against homeless shelter occurred in Irvine, spearheaded by Asian homeowners (Los Angeles Times, 1, 25 April 2018).
 Andrew K. Sandoval-Strausz, “Latino Landscapes: Postwar Cities and the Transnational Origins of a New Urban America,” Journal of American History 101 (2014): 804-31; Llana Barber, Latino City: Immigration and Urban Crisis in Lawrence, Massachusetts (Chapel Hill: University of North Carolina Press, 2017); Mike Davis, Magical Urbanism: Latinos Reinvent the U.S. Big City (London: Verso, 2000).
 Becky Nicolaides, My Blue Heaven: Life and Politics in the Working-Class Suburbs of Los Angeles, 1920-1965 (Chicago: University of Chicago Press, 2002), chapter 1-4.
 On El Monte, La Puente, and Azusa, see Jerry Gonzalez, In Search of the Mexican Beverly Hills (New Brunswick: Rutgers University Press, 2017), chapter 2; Matt Garcia, A World of Its Own: Race, Labor and the Making of Greater Los Angeles, 1900-1970 (Chapel Hill: University of North Carolina Press, 2001). In My Blue Heaven, p. 44, I noted that very few Latinos lived in South Gate in the 1920s. That assessment was wrong. Since that book’s publication, the opening up of the U.S. Census manuscripts for the 1930s and 1940s has allowed me to correct that portrayal along the lines of my description here.
 Information on these residents reconstructed from: United States of America, Bureau of the Census. Fifteenth Census of the United States, 1930. Washington, D.C.: National Archives and Records Administration, 1930. Census Place: South Gate, Los Angeles, California; Roll: 171; Page: 15A; Enumeration District: 1353; FHL microfilm: 2339906. Accessed at Ancestry.com. 1930 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc., 2002. I cross-checked with additional 1940s records on Ancestry.com—including U.S. Census, Naturalization records, and city directories. On Mormon colonies in Mexico around this time, see John B. Wright, “Mormon Colonias of Chihuahua,” Geographical Review 91 (2001): 586-96; Thomas Romney, Mormon Colonies in Mexico (University of Utah Press, 1938, reprinted 2005).
 Nicolaides, My Blue Heaven, 220; Los Angeles Times, 14 August 1946.
 Greg Hise, Magnetic Los Angeles: Planning the Twentieth Century Metropolis (Baltimore: Johns Hopkins University Press, 1997); Greg Hise, “Home building and industrial decentralization in Los Angeles: the roots of the postwar urban region,” Journal of Urban History 19 (1992): 95-125; D. J. Waldie, Holy Land (New York: W.W. Norton, 2005); Barbara Lane Miller, Houses for a New World: Builders and Buyers in American Suburbs, 1945-1965 (Princeton: Princeton University Press, 2015).
Los Angeles Times, 6 May 1943; South Gate Press, 6, 27 January 1944.
Los Angeles Times, 11 November 1945, 24 July 1946, 8 April 1952, 16 May 1952, 16 March 1961; South Gate Press, 1 August, 3 October 1946.
 Jacob Wegmann, “‘We Just Built It’: Code Enforcement, Local Politics, and the Informal Housing Market in Southeast Los Angeles County,” unpublished Ph.D. dissertation (Berkeley: University of California, 2014), 18-23; Tim Keogh, “Suburbs in Black and White: How Jobs Created Inequality in Affluent America” (manuscript in progress); also see Vinit Mukhija, “Outlaw In-Laws: Informal Second Units and the Stealth Reinvention of Single-Family Housing,” in Vinit Mukhija and Anastasia Loukaitou-Sideris, eds., The Informal American City (Cambridge, MA: MIT Press, 2014), 39-45.
Los Angeles Times, 14 April, 15 September 1946, 17 August 1947.
 Nicolaides, My Blue Heaven, 329; Ed Soja, Postmodern Geographies: The Reassertion of Space in Critical Social Theory (London: Verso, 1989), chapter 8; James R. Curtis, “Barrio Space and Place in Southeast Los Angeles, California,” in Daniel D. Arreola, ed., Hispanic Spaces, Latino Places: Community and Cultural Diversity in Contemporary America (Austin: University of Texas Press, 2004), 133-136.
 Graham McNeill, “Deindustrialization and the Evolution of the Working-Class Suburban Dream in Southeast Los Angeles (1965-1990),” unpublished seminar paper (Claremont Graduate University, 2014), 11-21; William Fulton, The Reluctant Metropolis: The Politics of Urban Growth in Los Angeles (Point Arena, CA, Solano Press Books, 1997), 85-87; Los Angeles Times, 1 October 1989.
 U.S. Census, 1980-2000. Local officials voiced concerns about census undercounts at least since the early 1980s: see South Gate Press, 26 July 1980.
 Jake Wegmann, “Research Notes: The Hidden Cityscapes of Informal Housing in Suburban Los Angeles and the Paradox of Horizontal Density,” Buildings and Landscapes 22 (2015): 89-110, Jake Wegmann and Sarah Mawhorter, “Measuring Informal Housing Production in California Cities,” Journal of the American Planning Association 83 (2017): 119-130.
South Gate Press, 29 April 1981; Los Angeles Times, 8 September 1983, 24 May 1987. On the ubiquity of informal housing, see Noah J. Durst and Jake Wegmann, “Informal Housing in the United States,” International Journal of Urban and Regional Research 41 (2017): 282-297.
Los Angeles Times, 8 September 1983, 14 March 1985, 24 May 1987; South Gate Press, 29 April 1981, 20 June 1984 (on cost estimates); Veronica Lopez oral history, conducted by Becky Nicolaides, 6 March 2017, South Gate, CA, pp. 7, 15, 17-18.
Los Angeles Times, 19 December 1999; Wegmann, “We Just Built It,” 65.
 Veronica Lopez oral history, pp. 7-8, 11-12, 15, 24-25; South Gate Press, 29 April 1981; Los Angeles Times, 24 May 1987; Wegmann, “We Just Built It,” 140-14.
 City of South Gate, “Housing Element,” in South Gate General Plan 2035, January 2014, p. 24 (accessed at http://www.southgatecc.org/community/planning-division/). In 2011, South Gate had 199 homeless persons, which represented 0.21 percent of the total population. The L.A. County rate was 0.46 percent of the total population.
 For examples of the extensive press coverage of school overcrowding in this period, see South Gate Press, 16 April, 7, 14, June, 13 September, 8 October, 16 August 1980, 3 January 1981; Los Angeles Times, 9 October 1978, 9 February 1986.
South Gate Press, 17 January 1981; Los Angeles Times, 8 September 1983; South Gate Ordinance No. 1562, 11 April 1983, South Gate City Clerk’s Office.
Los Angeles Times, 8 September 1983; South Gate Ordinance No. 1562, 11 April 1983, SG City Clerk’s Office.
 South Gate Ordinance No. 1651-A, 3 April 1985, SG City Clerk’s Office; Los Angeles Times, 14 March 1985.
Los Angeles Times, 8 September 1983, 6 September 1984, 9 February 1986. South Gate budgeted $265,000 in 1984, and $335,000 in 1986 for the enforcement of municipal building codes.
 South Gate City Council minutes, 27 May 1986, pp. 3-4.
 South Gate City Council minutes, 27 January 1986, p. 7, 10 February 1986, p. 5. Both Lombardo and Slaughter were later elected to the South Gate City Council.
South Gate Press, 25 September 1986 (Box 6, file 14, South Gate History Archive, Weaver Library). Swisher was part of an unsuccessful citizen movement to overturn South Gate’s laws against garage conversions.
 South Gate City Council minutes, 23 June 1986. A war of petitions occurred at this point: the pro-crackdown side gathered 121 signatures, those against had 1,000 signatures. The opposition petition was never submitted to the city council because many people who signed did not want their identity revealed (South Gate City Council minutes, 27 January 1986, 24 March 1986), p. 7.
 South Gate City Council minutes, January 27, 1986, 10 February 1986, p. 5.
Los Angeles Times, 21 December 1996. For example, one councilman reported on complaints from a resident that “illegal aliens” were living in a garage on their street (South Gate City Council minutes, 27 May 1986).
 Vinit Mukhija and Anastasia Loukaitou-Sideris, eds., The Informal American City (Cambridge: MIT Press, 2014); Wegmann, “We Just Built It”; Jake Wegmann and Jonathan Pacheco Bell, “The Invisibility of Code Enforcement in Planning Praxis: The Case of Informal Housing in Southern California,” Focus: The Journal of Planning Practice and Education 13 (2016), http://digitalcommons.calpoly.edu/focus/vol13/iss1/10/.
 Mukhija and Loukaitou-Sideris, eds., The Informal American City, 9. Becky Nicolaides is a research affiliate at USC and UCLA. She’s currently working on her third book called On the Ground in Suburbia, which explores how social and civic life evolved in LA’s suburbs from 1945-2000. Her UCLA website: http://www.tinyurl.com/NicolaidesUCLA.
Gentrification has increasingly become a significant issue in contemporary Los Angeles, especially in bohemian and so-called “ethnic” neighborhoods like Venice, Echo Park, Chinatown, and Boyle Heights. The Arroyo Seco neighborhoods of Northeast LA (NELA) such as Highland Park and Eagle Rock are significant flashpoints in the urban restructuring process that draws new white middle-class entrepreneurs and residents while displacing established immigrant and working-class people. Highland Park exhibits some features of “gentefication” that involve the participation of middle-class Latino/a residents and business entrepreneurs along with whites in the neighborhood transition process. But Latino/as are more commonly regarded as casualties rather than agents of gentrification as evidenced in the stark experiences of immigrant working class evictions and displacements primed by a hot real estate market driven by speculative flipping and growing corporate investment. Recently the gentrification and displacement frontier has shifted from York Boulevard to the main commercial district of Highland Park along North Figueroa Street and the Metro Gold Line. Here the troubling side of gentrification has intensified as larger developers are converting multi-unit apartment buildings and vacant lots into new market rate housing with the support of city officials and urban planning incentives from the City of Los Angeles.
The neighborhood transition process had been more gradual for decades from the 1970s to the 2000s as pioneering homebuyers, artists, and mom and pop entrepreneurs restored properties and culturally revitalized the NELA neighborhoods that had become disinvested in the wake of suburbanization and white flight. As the revitalization stage gave way to the gentrification stage in urban restructuring, investment accelerated in NELA in the wake of the great recession after 2010, when there was growing entry of speculator-flippers, corporate developers and architects, and governmental housing and urban development programs including transit-oriented development (TOD) and transit villages. The demand-side social agency of pioneers and risk-averse single-family home buyers increasingly shifts to the supply-side forces of capitalist investment and neoliberal public/private partnership.
As the urban growth machine propels gentrification forward in NELA, it exhibits sharpening socioeconomic and racial overtones as immigrant working-class Latino/a families are increasingly threatened with displacement by rent increases, mass evictions, and social uprootedness. Working class households and multi-family networks are even subject to secondary displacement as property transactions and new construction in neighborhood hotspots stimulate broader property value shifts in surrounding blocks and block groups. The creative frontier of urban restructuring in NELA exhibits a growing destructive violence that illustrates what David Harvey describes as capitalism’s tendency to foster “accumulation by dispossession” through privatization of public lands and public housing, slum clearance, property foreclosure and marginalization of the urban poor. He furthermore reflects upon how marginalized and dispossessed people around the world have ignited social resistance and insurgent movements to demand their “rights to the city” as urban inhabitants, despite their lack of property rights.
As the urban growth machine propels gentrification forward in NELA, it exhibits sharpening socioeconomic and racial overtones as immigrant working-class Latino/a families are increasingly threatened with displacement by rent increases, mass evictions, and social uprootedness.
The emergence of the NELA Alliance with their first protest march and demonstration along Highland Park’s York Boulevard in November 2014 seemingly gave public voice to the neighborhood’s opposition to gentrification and displacement, as well as the need for more affordable housing. With their robust calls that “Gentrification is the New Colonialism,” and that “Housing is a Human Right,” the largely Latino/a constituency of the NELA Alliance expressed their frustrations as a disenfranchised minority against the appropriation of its neighborhood homeland and culture by powerful outsiders. They have held organizational meetings, tenant’s rights workshops, panel discussions, testimonials and theatrical events to educate and mobilize the immigrant low-income community. Another organization named Friends of Highland Park emerged to contest the development of a transit village along the Metro Gold Line that neighborhood activists felt did not well serve the immigrant residential and business community. These movements have generated significant journalistic reports in the Los Angeles Times and other major online media.
There is a sense of class struggle amidst the relentless economic violence of capitalism reminiscent of Karl Marx and Frederick Engel’s famous description in “The Community Manifesto” of the global power of the bourgeoisie to revolutionize the mode of production and force the capitulation of the proletariat and their cultural traditions until “all that is solid melts into air.” The production of urban space is crucial to the continued expansion of capitalism, yet this process is full of tension and struggle. The contradictions of urban capitalism as a force of creative destruction has been described by David Harvey and Marshall Berman through epic historical cases. Some of these cases include a few from the public works prefect Baron Haussmann and his destruction of dense working-class neighborhoods to create the boulevards in mid-eighteenth century Paris and power broker Robert Moses and his clearing of dense working class communities in New York City in the mid-twentieth century in favor of bridges, intercity expressways, and the opening up of the suburbs. Fast forward to the twenty-first century, and the malevolence of gentrification is described by Jason Hackworth as the material and symbolic “knife-edge” of neoliberal capitalism amidst the government retrenchment from the Keynesian egalitarian liberalism of the twentieth century. The capitalist city is a main battleground for neoliberal transition as local governments “roll back” Fordist-era housing programs and social services while “rolling forward” post-Fordist incentives for investment and urban entrepreneurialism. Under neoliberal gentrification we see the opposing clash of capitalist struggle between exchange value interests for investors, property owners and state tax revenues versus use value interests for residents, workers and urban inhabitants.
Northeast LA (NELA) Alliance members stage their first major action Procesión de Testimonios: Evicting Displacement on 3 November 2014 including mock evictions on twenty-two businesses. Protesters can be seen at left with a realtor crossing York Boulevard to the right (Credit: John Urquiza/Sin Turistas).
The Troubling Side of Gentrification: Displacement, Root Shock, and Neighborhood Trauma
Less visible than the outward economic signs of gentrification is the social uprooting and traumatic displacement process that takes place behind the scenes after new owners and developers have secured their properties and start vacating residents through dramatic rent increases or direct evictions. Even when eviction is legally implemented with relocation stipends, the monies hardly make up for the abrupt involuntary loss of a home and loss of extended family networks that were built up over the years to help low-income immigrants and minorities share child care responsibilities and confront the economic challenges of urban life. In L.A. neighborhoods like Highland Park, which are on the gentrification frontier, the good and bad aspects of the urban growth machine work simultaneously to display the innovative and cruel nature of urban capitalism as a double-edged force of creative destruction. The housing markets in gentrifying areas like NELA reveal how innovative investors and architects build smart and trendy new housing to attract affluent millennial homebuyers of the creative economy and technology sector while removing working-class immigrant and minority families.
In L.A. neighborhoods like Highland Park, which are on the gentrification frontier, the good and bad aspects of the urban growth machine work simultaneously to display the innovative and cruel nature of urban capitalism as a double-edged force of creative destruction.
The impacts of secondary displacement through increases in property value play out more slowly than primary displacement evictions and high rental increases, but they create financial strains on families that further aggravate the physical and mental health of communities. Financial strain and/or displacement can cause chronic stress-related physical and mental illnesses, including hypertension, heart disease, obesity, diabetes, depression, anxiety, and sleep disorders. Serial displacement among multi-generational families can lead to a condition of “root shock.” Black and Latino families escaping racial discrimination and political violence carry previous traumatic experiences that can be aggravated by housing displacement.
Root shock is the traumatic stress reaction to the loss of a community’s multi-family and inter-generational social networks previously built up as emotional and social eco-systems to help low-income minority and immigrant communities survive when confronted by economic challenges and social marginalization. The concept was adapted from the practice of gardening by Dr. Mindy Fullilove, professor of clinical psychiatry and public health at Columbia University, to describe the experiences of people she interviewed about their displacement in cities like Philadelphia, Pittsburgh and Roanoke, Virginia. She addresses the concept of “serial displacement” or repeated upheavals caused by disinvestment, gentrification, HOPE VI, mass incarceration, and natural disaster. The concept of root shock helps one understand both the effects of displacement and also formulate ways to mitigate urban trauma and community recovery from natural and man-made disasters.
“El Capitalista” puppet made by NELA Alliance members in silent procession on 12 December 2014 (Credit: John Urquiza/Sin Turistas).
Friends of Highland Park vs. the Highland Park Transit Village
Transit oriented development (TOD) is a growing tool of urban public policy to stimulate economic development and housing near mass transit stations like the Highland Park stop on the MTA Gold Line. The City of Los Angeles-owned vacant land is operated by the Department of Transportation as surface parking lots and plans gradually progressed over several years for a transit village of three buildings with eighty residential units comprising twenty market rate condos and sixty affordable apartment housing units. The Highland Park Overlay Zone board approved the project in early 2013 and the L.A. Planning Commission granted developer McCormack Barron Salazar conditional usepermits for taller more densely-built housing which then sparked some outcry and debate in the community with regard to the transit village’s size, aesthetics, congestion, and loss of public parking. The L.A. City Council backed the Planning Commission’s decision for higher density and furthermore approved the project to be released from lengthy review of impact on the environment, traffic and city services.
Community opposition to the project organized its campaign as the Friends of Highland Park and was led by a trio self-described as the “three musketeers,” including business leader Jesse Rosas; Lisa Duardo, a fierce speaker with close ties to the arts community; and Lloyd Cattro who is familiar with environmental issues. The movement gained support from respected N. Figueroa Street business leaders like Miguel Hernandez of Antigua Bread, Carlos Lopez of Las Cazuelas Restaurant and William Yu of California Fashion. Duardo attended legal workshops conducted by Advocates for the Environment jointly sponsored by the Sierra Club at Loyola Marymount University. With counsel from land-use attorney Dean Walraff, the Friends of Highland Park retained fiery attorney Vic Otten to file a California Environmental Quality Act (CEQA) lawsuit against the transit village. An initial trial court judgment dismissed the CEQA filing. It was reversed by the California Court of Appeal in December 2015, in a decision that set aside the City’s Mitigated Negative Declaration and Notice of Determination and thus required the preparation of an environmental impact review (EIR) that complies with CEQA requirements. Described by Friends of Highland Park as a “David vs. Goliath” victory, the ruling sent City agencies and the developer back to the drawing board. To pay for such legal costs, the Friends of Highland Park fundraised some $30,000 through initiatives at local restaurants and bars, business events, and the NELA Alliance.
Jesse Rosas is the leader of the Northeast Business Association, which represents some fifteen to twenty business owners, a newer constituency than the Highland Park Chamber of Commerce currently led by Yolanda Nogueira that has existed for forty to fifty years, separate from the N. Figueroa Association that represents property owners and the Business Improvement District. Rosas has good business networks through his work on N. Figueroa Street events like the annual Christmas Parade and Highland Park Car Show. He doesn’t believe that the higher-income commuters the transit village would attract will patronize local businesses, which will instead be hurt by two years of construction and the loss of the public parking lots for their long-time customers. He’s highly skeptical of statements from Councilman Gil Cedillo’s office that there will be one-to-one replacement of public parking spots in new subterranean parking since many spots will be dedicated to transit village residents, monthly parking, and commuters. Questions also remain about whether the affordable housing units planned will really be financially viable for low-income households.
“Housing is a Human Right” projection during the course of silent procession on 12 December 2014 (Credit: John Urquiza/Sin Turistas).
Eviction Order and Rent Strike at Marmion Royal
Another contentious housing situation emerged right next to the Highland Park Metro Gold Line station at the sixty-unit Marmion Royal apartments. In May 2016, the building sold to Skya Ventures and Gelt Inc., a development company owned by a married couple Gelena Skya and Keith Wasserman, who announced plans to clear the apartments to renovate and rebrand the building as Citizen HLP and increase rents by more than $1,000 a month. Seven families voluntarily relocated, while nineteen were served with evictions. Others felt harassed by water shut-offs. Extended multi-family networks among the tenants are under threat of being broken. The property managers working for the Wassermans, Moss & Company repeatedly told residents they had to leave when their leases expire. The residents were majority working-class Latino/a families and included several Section 8 tenants at risk of homelessness without their housing vouchers. The Marmion Royal was built in 1987 and was not covered by the Los Angeles Rent Stabilization Ordinance, which applies to multi-unit apartments built before 1978, limiting rent increases to three percent and requiring landlords to provide relocation expenses for evicted tenants.
On 19 July 2016, a demonstration of about one hundred people was held next to the Marmion Royal apartment building, led by the NELA Alliance. The Occidental College Students United Against Gentrification (OSUAG) also participated. Adolfo Camacho, a resident for three years at the Marmion Royal and thirty years in Highland Park, said six people would be evicted from his household, including four children. His sister-in-law lived in another apartment. Chris Alvarez, who worked at the KTLA television station in Hollywood, said he would likely have to move to Monrovia or Lancaster and endure a much longer commute to his job. He grew up in Highland Park and had lived fifteen years at the Marmion Royal. He said that he and his wife were seven months pregnant and he fretted about moving when she was in her third trimester. He worried that he would be separated from his mother and sister who lived two blocks away during this crucial time. After more testimonies, the participants proceeded to march in the streets chanting, “Save Our Homes,” and “Housing Now,” to the office of Councilman Gil Cedillo where they demonstrated for a while before returning to the Marmion Royal. Erick Berdejo said, “I grew up here. I’ve been here ten years since the age of nine. We’re decent people, we work to pay rent, and for them to tell us we got to move because we can’t afford the rent ‑ that’s wrong!” David Canecho, a resident for twenty years at the Marmion Royal, said “we’re not the only ones in L.A. going through this. I went to high school in Highland Park then to college at Chico State and came back but now I can’t live here. It’s up to us to stand up and stick together!”
With educational workshops and organizational support from the NELA Alliance, the Los Angeles Tenants Union and legal advocacy from attorney Elena Popp of the Eviction Defense Network, forty-seven of the remaining residents signed a petition to fight their evictions and organize the Marmion Royal Tenants Union. They called for a rent strike to try to pressure the Wassermans into a collective bargaining agreement, putting their rent money into a blind trust while they negotiated with Skya Ventures. Over the next few months demonstrations, testimonials and candlelight vigils helped to publically dramatize the struggle of the Marmion Royal Tenants Union. In August, NELA Alliance sponsored an educational panel at Avenue 50 Studio, an exhibition, a performance and artistic procession through the streets titled, “Dancing Cantos of an Evicted Pueblo.”
NELA Alliance member Arturo Romo and Lis Barrajas leads other participants in silent procession to La Culebra Park where rites were held burning sage and palo verde to honor the native Tongva who were the original residents of region before their displacement (Credit: John Urquiza/Sin Turistas).
Fundraising efforts with support from local businesses like Las Cazuelas restaurant helped to raise nearly $8,000 for legal fees and court costs. Some white professional residents came forward to assert they thought management was more willing to negotiate with them on rent increases, giving Elena Popp an avenue to argue for a case of discrimination against the Latino/a and black residents. But in December 2016, a Los Angeles Superior Court judge, Rupert A. Byrdsong, ruled against a claim of discrimination against five tenants being evicted. The Skya Ventures attorney Jeffrey B. Endler argued that “white people were allowed [to] negotiate, maybe because they were more aggressive” and asked the judge to end the hearing. But Byrdsong allowed the defense to bring in more witnesses before ordering the remaining evictions. Elena Popp implied that there was also class discrimination, saying a representative of Skya Ventures told her the company wanted to bring in “higher-caliber tenants.” But Byrdsong ruled her testimony not admissible since it was akin to a negotiation between the parties. When the hearing resumed, Popp offered a settlement that called on the tenants to leave by 30 January. However, Skya Ventures wanted an earlier date. The firm said it would not ask for unpaid rent. “All we want is possession,” said their attorney Jeffrey Endler.
They do not go down without a fight against their impending dispossession, and they reveal the striking contradictions of the process of urban capitalist accumulation.
The Marmion Royal Tenants Union legal team is appealing the judge’s ruling under the claim it didn’t follow normal procedures of a jury decision. With support from attorney Noah Grynberg of the Los Angeles Center for Community Law and Action, the legal team is negotiating to consolidate the other eighteen cases. Remaining members of the tenants union vowed to continue their support. NELA Alliance members appealed through neighborhood social networks to find new housing for tenants facing eviction. Candlelight vigils helped to nourish their solidarity amidst the trauma of actual or impending displacement during the Christmas holidays. They staged a candlelight vigil at the residence of Gelena Skye and Keith Wasserman in Sherman Oaks on the evening of 30 December 2016. The evictions proceeded into the spring of 2017, however, and the last tenants were out by June 2017. The renovated building is now called Moxie + Clover Apartments.
The struggles of the Marmion Royal Tenants Union ended with the eviction of the final family in June 2017, but the NELA Alliance has kept up its neighborhood activism as it monitors incipient displacement and eviction situations at other multi-family apartment buildings in Highland Park along the N. Figueroa Street and the Metro Gold Line corridor. NELA activists give their support to anti-gentrification struggles in nearby communities like Boyle Heights, Lincoln Heights and Elysian Park, which exhibits striking investment and gentrification dynamics associated with lively arts scenes, and proximity to the Metro Gold Line and the campaign to revitalize the Los Angeles River. Interaction between activists in different neighborhoods helps generate a broader organizational capacity and political pressure for addressing homelessness and affordable housing policy in an era of continuing federal retreatment from Fordist-era public housing and social services. In the post-Fordist era, local governments increasingly shoulder the burden through neoliberal mechanisms of public/private partnership. The struggles of immigrant and working-class displacement and eviction in Highland Park dramatize the more troubling aspects of City and County of Los Angeles public policies like transit-oriented development and transit villages to generate new housing that is mainly market-rate and unaffordable for the working poor. They do not go down without a fight against their impending dispossession, and they reveal the striking contradictions of the process of urban capitalist accumulation.
The victims of the redevelopment and gentrification process in Highland Park and their supporters protest their right to the city as a touchstone for social inclusion. They assert their sense of ownership over their communities and rights as urban citizens, a cry and demand for political belonging in urban residency rather than national citizenship. They appeal to the sense of collective and human rights. In the words of David Harvey:
But new rights can also be defined: like the right to the city which … is not merely a right of access to what the property speculators and state planners define, but an active right to make the city different, to shape it more in accord with our heart’s desire, and to remake ourselves thereby in a different image.
Over 200 NELA Alliance members and Highland Park residents demonstrate at the office of Councilman Gil Cedillo following a solidarity rally with the families of the Marmion Royal Apartments and a march through the streets on 18 July 2016 (Credit: John Urquiza/Sin Turistas).
All photos are by John Urquiza, a Northeast LA photographer and founder of Sin Turistas photography collective that runs classes, exhibitions and community film screenings in Highland Park. He is also photographer and member of the Northeast LA Alliance that leads protests against gentrification, community organizing for tenants’ rights and artistic documentation of social actions for neighborhood change. His website is http://theironyandtheecstasy.me.
 David Harvey, Rebel Cities: From the Right to the City to the Urban Revolution (London: Verso, 2012).
 Tim Logan, “Highland Park Renters Feel the Squeeze of Gentrification,” Los Angeles Times, 21 December 2014, A1; Nathan Solis, “Highland Park Residents Share Stories of Gentrifiation During Saturday Night Demonstration and Vigil,” Eastsider, 15 December 2014, www.theeastsiderla.com.
 Henri LeFebvre, The Production of Space, translated by Donald Nicholson-Smith (Cambridge: Basil Blackwell, 1974, reprinted 1991).
 Marshall Berman, All That is Solid Melts into Air: The Experience of Modernity (New York: Simon and Schuster, 1982); David Harvey, The Condition of Postmodernity (Cambridge, MA: Basil Blackwell, 1989).
 Jason Hackworth, The Neoliberal City: Governance, Ideology, and Development in American Urbanism (Ithaca, NY: Cornell University Press, 2007).
 Neil Brenner and Nik Theodore, “Cities and the Geographies of ‘Actually Existing Neoliberalism,’” Antipode 34 (2002): 349-79.
 Mindy Fullilove, Root Shock: How Tearing Up City Neighborhoods Hurts America, and What We Can Do About It (New York: One World/Ballantine, 2005).
 Doug Smith, “A Flashpoint in L.A.’s Gentrification Drama: Protesting Highland Park Tenants face a Mass Eviction,” Los Angeles Times, 11 October 2016, A1.
 Doug Smith, “Judge Rejects Discrimination Clain in Highland Park Evictions,” Los Angeles Times, 14 December 2016.
 David Harvey, “The Right to the City,” International Journal of Urban and Regional Research, 27 (2003): 939-41.
Jan Lin is Professor of Sociology at Occidental College. This article is an edited excerpt from Chapter 5 of his book, Taking Back the Boulevard: Art, Activism and Gentrification in Los Angeles(New York University Press, 2019). His stories on neighborhood transition and gentrification and students’ Young Voices features have appeared with KCET-Departures online. This excerpt’s research is drawn from interviews with Lisa Duardo, Jesse Rosas, Miguel Ramos, John Urquiza and Marmion Royal tenants, participant observation at demonstrations and public forums, and newspaper and online media articles.
In March 1992 the nineteen-year Navy veteran and founder of the Veterans Council for American Rights and Equality (C.A.R.E), Chuck Schoen penned an open letter in the Redwood/Sacramento branch’s newsletter to the then-Chairman of the Joint Chiefs of Staff Colin Powell, protesting the military’s ban on homosexuals. While he thanked Powell for rejecting sexual orientation as a security risk, he lamented Powell’s continued stance opposing gay men and women in the military. He informed Powell, “We know how to separate our professional life from our sexual life. We have proven this during the past fifty years, by our honorable service.” Due to an investigator’s discovery of his homosexuality during a security clearance investigation, Schoen had been forced to resign in 1963 or else face a dishonorable discharge. Schoen believed security clearances unfairly targeted gay service members. “[T]housands of investigators spent millions of man hours and millions of dollars ruthlessly seeking out harmless homosexuals,” he wrote Powell. “Even with all their expertise and money, they had only about one percent success rate. All during this time they thought we were the spies. What a costly error based only on conjecture and hatred.”
That same month, then head of the Central Intelligence Agency (CIA) and future Secretary of Defense Robert Gates responded to a letter from the William and Mary Gay Alumni Association (WMGAA). President Michael Pemberton and Thomas P. Rowan had congratulated Gates upon his appointment to the directorship of the CIA in December while also raising concerns about the agency’s ability to ensure “equal opportunities for all current and prospective employees.” Gates thanked them for their letter and assured Pemberton and Rowan that the “[a]gency does not reject, disqualify, or assign people, or make any other personal decision on the basis of sexual orientation.” He went on to note that, “Indeed, CIA has homosexuals in its workforce.”
Though the overlapping dates of these correspondences might be coincidental, the motivations behind each were not. Since President Eisenhower’s issuance of Executive Order 10450 in 1953, which banned homosexuals from government employment and labeled them a threat to national security, along with the military’s history of purging gay and lesbian service personnel homosexuals struggled to gain equal rights in the government and the military. Both letters preceded real government reform in this area. The Pentagon enacted the “Don’t Ask, Don’t Tell” policy in 1993 and two years later President Clinton issued Executive Order 12968, which stated for the first time in an executive order that sexual orientation could not be grounds for denial of a security clearance. Yet gay men and women both within and without the government had long protested what they saw as unequal treatment, including security investigations that delved unfairly into the sexual lives of service personnel and employees. The advances witnessed in 1995, and to a far lesser extent 1993, stemmed from such efforts over the course of four decades, not least among them was the case of Otis Francis Tabler, a Rancho Palos Verdes resident and missiles systems analyst working within the expanding military industrial complex of Southern California.
“In a precedent setting action, the Industrial Security Clearance Review Office (ISCRO) of the Department of Defense today withdrew its appeal… finding issuance of a Secret-level security clearance to Otis Francis Tabler, Jr., an open, self declared Homosexual, to be ‘clearly consistent with the national interest,’” announced the Mattachine Society of Washington D.C. (MSW) in August 1975. Tabler challenged both the federal government’s security clearance system and California state law banning sodomy and “perversion,” thereby opening up new job opportunities for homosexuals in the state’s booming defense industry while also contributing to the fight to eliminate unconstitutional legislation.
Though Tabler’s case unfolded at the Federal Building on Wilshire Boulevard, its success existed as a confluence of factors, individuals, and geography that stretched over the course of two decades. It took the advocacy and activism of Washington D.C.’s foremost gay activist, Frank Kameny, a World War II veteran who for years fought discrimination against homosexuals in government hiring. At the same time, the establishment of the original Los Angeles Mattachine Society by Harry Hay in 1951 enabled Kameny and other activists across the country to establish their own local versions from which to operate while Southern California’s expanding defense industry offered employment and opportunity to carry out new struggles against discrimination. Kameny would cut his teeth in such struggles as leader of the MSW and would bring this experience to bear on behalf of Tabler in the early 1970s.
While often seen as the most conservative of American institutions, the military, the vast defense industry that supports it, and veterans themselves have operated, intentionally and unintentionally, in conjunction to advance the rights of ethnic, racial, and sexual minorities.
During the 1970s, Los Angeles’s vibrant gay liberation movement inspired Tabler and gradually shaped public opinion toward a more favorable view of homosexuality and, by 1976, a repeal of the state legislation Tabler had challenged. Finally, Kameny and Tabler’s fight to open up the security clearance process for gay men and women preceded the Don’t Ask, Don’t Tell policy by nearly two decades and helped to lay the ground work for President Bill Clinton’s 1995 Executive Order 12968. Over forty years later, Tabler’s battle demonstrates how the intersection of the military, California, and the nation’s capital led to the expansion of opportunity and rights for gay men and women across the nation. While often seen as the most conservative of American institutions, the military, the vast defense industry that supports it, and veterans themselves have operated, intentionally and unintentionally, in conjunction to advance the rights of ethnic, racial, and sexual minorities.
A Military State, World War II, and California
World War II radically reshaped California. First, it led to a boom in population and a demand for greater infrastructure in nearly every area of urban life from water systems to road construction. Single women, Blacks and Latinos all flocked to cities like Los Angeles and San Francisco to work in defense factories. Men of all races joined the military as a means to demonstrate their sense of patriotism. Minorities tired of dealing with discrimination and second-class citizenship used service as a means to demand equality from a nation demanding that they sacrifice for the war despite existing inequalities.
Women too contributed to the war effort in countless ways. Some by working in the numerous factories that dotted the Los Angeles, Orange County, San Francisco, and San Diego landscapes, while others served in the Women’s Army Core (WACS) or Women Accepted for Voluntary Service (WAVS, the women’s branch of the Naval Reserve). Women’s experiences in the war would lay the groundwork for the feminist movement of the 1950s and 1960s.
The war also created the space and opportunity for gay men and women to realize their own sexuality and build community in the process. The stress of military training, the common purpose of working toward victory in the war and the crucible of combat encouraged camaraderie and trust. For those attracted to the same sex, working, sleeping, and relaxing with one another in gender segregated military environs proved an imperfect yet opportune chance at romance and community.
At the same time, the military cracked down on homosexuality. As Daniel Hurewitz specifies in his 2007 work Bohemian Los Angeles and the Making of Modern Politics, “The war mobilization laid the groundwork for a national effort to eliminate homosexuals from public life.” Hurewitz further states, “During the war, itself, a host of psychologists and psychiatrists had convinced military leaders that they could help limit the number of soldiers suffering from psychological ailments as a result of the fighting.” Looking to prevent gay men and women from serving, officials questioned recruits about their sex lives as they tried to “weed out” those the military believed to be sexually active labeling them, “mentally unfit.” These kinds of categorizations went far to frame homosexuality as a psychological malady rather than a sexual preference. As demonstrated, the military took the issue of homosexuality seriously, often issuing verbal warnings about Los Angeles’ gay permissiveness. “We were solemnly told that all queers in California wore red neckties and hung out at the corner of Hollywood and Vine, a myth we all accepted,” noted one former Marine and World War II veteran. Such warnings probably helped to pique the interest of closeted service personnel, suggests historian Allan Berube.
Though the armed services targeted men mostly, in the late 1940s and 1950s, after the war, women also came under scrutiny. In the early Cold War military, notes historian Margot Canaday, “the state did not ignore, conflate, or subsume lesbianism, but was instead focused upon it.” Despite women making up less than one percent of the military during this period, the military’s anti-homosexual agenda targeted women in a particular way. “Military officials maintained that homosexuality among women was more disruptive to morale and discipline then homosexuality in men, and they attributed a far higher rate of homosexual activity to female than male personnel,” she concludes.
Simultaneously, the Los Angeles Police Department increased their surveillance of homosexual activity. State law had long considered sodomy a felony, but in 1915 California legislators adopted legislation outlawing fellatio after authorities arrested thirty-one men for engaging in oral sex following a 1914 Long Beach raid. Predictably, officials used such laws largely to regulate homosexual activity rather than that of heterosexuals. Even worse, gay men especially could not count on city police officers for basic protection. “Gay men could not escape the knowledge that the LAPD regarded them not only as laughable, but as ultimate criminals,” note Faderman and Timmons. Despite, or perhaps due to, a growing gay community of men and women, the LAPD viewed lesbians and homosexual men with the utmost hostility.
Throughout the 1950s and 1960s, the LAPD raided gay bars, surveilled known cruising sites and attempted to entrap gay men and women, all in an effort to persecute patrons. The city attempted to shut down various magazines seen as homosexually-oriented including ONE, Physique Pictorial, and Adam, only to be rebuffed on appeals by the courts all while vendors across the town sold Playboy magazines without incident. No matter how many legal defeats the city endured, it continued to prosecute. “Los Angeles officials expressed their overt intent to continue the persecution of queer texts through obscenity charges,” noted Whitney Strub.
Cinemas too struggled under the thumb of authorities. Venues such as the Coronet (La Cienga Blvd in West Hollywood), the Lyric (Huntington Park) and Vista Theater (Silver Lake) served as gathering places for gay Angelenos. Such venues frequently screened art films with “queer undertones,” writes Strub. In particular, the Coronet played Kenneth Anger’s “Fireworks” in 1957, arguably one of the most provocative queer films of the period. The LAPD filed obscenity charges soon after. In the end, the Lyric and Vista Theaters all endured legal challenges similar to that of the Coronet, which ultimately resulted in closure, even when they emerged victorious on judicial grounds. Yet, when the film Deep Throat achieved national popularity, it too flashed across Los Angeles movie screens and authorities did nothing to prevent it, which further illustrates these pervasive double standards.
Gay panic even served to influence debates regarding the role of outdoor leisure in Los Angeles. The city’s beaches endured accusations of homosexual infiltration. During the 1940s a number of establishments began catering to a homosexual clientele thereby enabling the growth of a notable gay public sphere along a stretch of Santa Monica beachfront between Hollister and Strand. Known as “Crystal Beach” among locals, the area became subject to police surveillance in the early 1950s when a number of gay bars and taverns opened for business. “Now more visible, the perceived threat posed by the gay beach going community was heightened by the Cold War,” writes historian Elsa Devienne, “a time when any challenge to the heterosexual nuclear family model was perceived as a direct attack on American values.” During the campaign for municipal elections in 1955, candidates openly accused the Santa Monica beaches of “fostering and protecting homosexuals.”
Gay panic even served to influence debates regarding the role of outdoor leisure in Los Angeles. The city’s beaches endured accusations of homosexual infiltration. During the 1940s a number of establishments began catering to a homosexual clientele thereby enabling the growth of a notable gay public sphere along a stretch of Santa Monica beachfront between Hollister and Strand.
In the face of such hostility, Harry Hay and others formed the Mattachine Society in 1951 in what was then known as Edendale,—Silver Lake today. Emerging from a milieu populated by bohemians, communists, and homosexuals who shared ideas, strategies, and beliefs, Hay constructed what would become the homophile movement and the Los Angeles Mattachine emerged as its first real organization. It enabled gay men and women to form a community and present a collective identity to a hostile questioning public. “What Mattachine offered was a different kind of camaraderie: non-sexual family camaraderie… that was well organized and increasingly more defined,” argues Hurewitz. “This was camaraderie about sexual desires that was not constituted by those desires… it was new and transformative; it was how a communal identity—a shared self perception—was constructed.”
Government purges contributed to Hay’s motivation notably in the influence that federal policies cast over private sector employment. Having worked for large aircraft manufactures dependent on government contractors for work, Hay realized the chilling effect such policies might impose. Hay’s own supervisors had encouraged him to pursue systems engineering. But Hay, fearing that his support of the Communist Party threatened his ability to receive a security clearance, declined.
In the decade that followed World War II, half of Southern California’s economic growth depended on defense contracts. This dependency meant Hay and others like him faced dismissal from current employment and dramatically fewer job opportunities. At the same time, the Korean War delivered a surge in government spending, particularly in the area of research. Though many defense industry jobs at the outset of the war remained blue collar, the expansion of atomic weaponry, the increased influence of the Air Force, and technologically advanced weapons systems placed a greater emphasis on a college-educated workforce. Hay organized the Mattachine Society, in part as a means to organize Southern California homosexuals in response to wide spread societal discrimination, including impending governmental purges.
Unfortunately, the L.A. Mattachine struggled with internal divisions and Hay would be ousted from leadership within a few years of its establishment. Still, it persisted and inspired the growth of Mattachines across the U.S. and perhaps most importantly the creation in 1961 of the MSW under the leadership of Frank Kameny. Though later eclipsed by organizations in San Francisco and New York, the MSW would be “the leader in the homosexual rights movement.” In its efforts to battle workplace discrimination during the 1960s, the MSW “took the entire gay movement in a new direction,” argues David K. Johnson. To paraphrase John D. Emilio: Kameny spearheaded the new militancy in the homophile movement. Indeed, a decade before Otis Tabler’s hearing, Kameny and the MSW cast a national influence by protesting the Civil Service Commission’s (CSC) hiring practices or organizing Remembrance Day protests outside Philadelphia’s Freedom Hall as a means of recognizing homosexuality in the public sphere. After the famed Stonewall Uprising of 1969, Remembrance Days migrated north to New York where it transformed into the Christopher Street Gay Liberation Day and would become known as the Gay Rights or Gay Pride Parade. Ultimately, Kameny’s influence would reach California but only after gutting out legal in battles in the nation’s capital.
During the Red Scare of the 1950s, communism and homosexuality became intertwined as threats to national security. A major congressional inquiry in 1950 explored the “Employment of Homosexuals and Other Sex Perverts” in government and ten years later institutions like the State Department “divided security risks into ‘homosexuals’ and ‘nonhomosexuals’, with the former outnumbering the latter two to one,” noted Johnson. “Throughout the 1950s and 1960s the term ‘security risk’ in fact functioned largely as a euphemism for homosexual.”
In the government’s civil service commission and elsewhere, gay men and women who refused to resign were drummed out on charges of “immoral conduct,” a clause that dated back to the 1800s but most often found usage as a means to target homosexuals. Thousands of employees lost their jobs due to their sexual orientation. New York Post columnist Max Lerner described the policy as a witch-hunt, derisively labeling it the “panic on the Potomac” while senators endorsing the action referred to it the “purge of the perverts.”
Few understood the effects of the policy than WWII veteran, Frank Kameny, who in 1957 was fired from his job in the Army Map Service for being a homosexual. Kameny filed a petition to the Court of Appeals District of Columbia Circuit Court protesting his firing on discriminatory grounds. It eventually reached the Supreme Court, but the justices refused to hear the case. He would not relent.
Lilli Vincenz, who had been discharged (ironically, honorably) from the Army WAC in 1963 for lesbianism, joined the MSW soon after and described the organization’s single-minded focus under Kameny’s leadership. “The Mattachine Society of Washington is not a social group—but rather an ascetic one,” she wrote to a friend in 1965. “The CAUSE is all and don’t you dare speak of trivial matters like an occasional social get-together.”
By 1961, Kameny had re-established the MSW and used it as a platform to achieve equality in government hiring for homosexuals. From 1961 through the 1970s, Kameny criticized the government’s “war on gays and lesbians” at every opportunity, even picketing the White House and Civil Service Commission Headquarters among other Washington institutions over their policies in 1965.
Aware of Cold War rhetoric depicting homosexuality as subversion and a security threat, MSW members and picketers went to great lengths to demonstrate that while they were homosexuals they deserved the same rights accorded their fellow Americans. They identified as “homosexual citizens,” thereby arguing that one need not reject their sexuality in order to claim the rights of national membership.According to the lone newspaper that covered the April picketing of the White House, ten protesters carried signs that said, “We want Federal employment, Honorable Discharges and Security Clearances,” and “Gov. Wallace Met With Colored Citizens, But Our Government Won’t Meet With US.”
Participants were keenly aware of the risks. Jack Nichols and Elijah Clarke stayed up late the night before making picket signs only to have a roommate warn them about potential violence. “You guys are crazy. People are going to attack you,” he told Nichols and Clarke. Another protester, Gail Green, admitted the biggest fear among protesters was loss of employment. Nichols prevented his partner Clarke from attending since Clarke worked for the Joint Chiefs of Staff and would likely be fired. Two other participants wore sunglasses in an effort to conceal their identities. 
Vincenz, who would appear on the cover of the October 1965 issue of The Ladder picketing the Civil Service Commission, concurred that many of them were “between careers” or could “afford to do it.” Next to her wedding day, “that was the most important day of my life… It was a defining moment for all of us. It was very empowering.” They picketed six times that summer, three times at the White House, once each at the State Department, CSC, and Pentagon. Initially the protests received paltry media coverage. However, by the end of the summer, due to the protests, Kameny and the MSW had developed an effective media strategy that would boost participation and increase coverage of their efforts in outlets such as Reuters and Confidential. Looking back, Kameny claimed the summer of 1965 established a “mindset for public displays of dissent by gay people” which would later make Stonewall possible.
That same year, a legal victory in the U.S. District Court of Appeals forced the CSC to define closeted homosexuals as acceptable employees. Still, Kameny and others remained understandably unsatisfied and California would serve as another key testing ground to push sexual equality further.
Unlike Hay, whose approach to gay rights was rooted in Marxism leading to organizational anarchy, Kameny framed his fight in the context of Jefferson’s Declaration of Independence, the U.S. Constitution, and the protests of suffragists like National Woman’s Party leader Alice Paul.
After World War II, due to its room for expansion, diverse geography, and mild weather, California drew increased military spending. Historian Richard White concluded, “[i]t was as if someone had tilted the country: people, money and soldiers all spilled west.” Los Angeles and Orange County drew new installations and defense industries, the latter particularly in aerospace. By the early 1960s, forty-three percent of manufacturing employment in the two counties was tied to government aerospace contracts. This process persisted into the 1970s, by which time L.A. and the surrounding region “had come to rely to an extraordinary degree upon the related industries of defense aircraft space and electronics,” notes historian Roger Lotchin. Even today, the presence of the military and private defense industries contributes significantly to Orange County’s ranking as the nation’s largest suburban employment center. Simultaneously, the city’s gay population expanded to an estimated 140,000 gay men and women in metropolitan L.A., which was a number that would only expand over the ensuing decades. Government expansion corresponded with demographic growth, by the mid-1950s 250,000 Californians labored as federal workers, which led many to describe the Golden State as a “second U.S. capital.”
Ironically, U.S. military action contributed to the development of the Mattachine Society. If Harry Hay had refused to enter the “the new discipline of systems engineering” largely because he feared denial of a security clearance due to his communist affiliations and homosexual lifestyle, that did not mean he couldn’t use the burgeoning conflict as a means to recruit for the Mattachine Society. During the summer of 1950, Hay and others canvassed city beaches asking beachgoers to sign a petition protesting the Korean War. Hay believed most people would refuse to sign on to such a radical statement, but it would allow him to introduce a more moderate proposal: the formation of a gay organization. “Then we’d get into the gay purges in U.S. government agencies of the year before and what a fraud that was,” he noted. Ironically, most people signed the petition, but eschewed the idea of a gay rights society. Still, as Johnson notes, by Autumn he had the germ of what would become the Mattachine Society, and it all began on Los Angeles beaches with a discussion of the U.S. military industrial complex.
Unlike Hay, Otis Francis Tabler did pursue systems engineering. Born in 1942 in Hampton, Virginia, Tabler eventually moved to Philadelphia where he graduated in 1963 from the University of Pennsylvania with an Bachelor’s degree in engineering. He moved to Denver where he worked for General Electrics and Martin-Marietta Company until later decamping for Los Angeles in the late 1960s for a position with Logicon, located in San Pedro.
From 1966-1969 Tabler studied missile defense systems at Logicon as a computer scientist, from which position he was granted a Secret security clearance. However, during the first background investigation that led to his clearance, he neither concealed nor highlighted his homosexuality. He briefly left Logicon for employment with another company where he did not return to the San Pedro company until 1971‑ at which point he sought a new clearance. During the new investigation, Tabler openly apprised investigators of his sexuality, telling them “I am an overt, practicing homosexual who prefers to obtain a clearance without concealing his personal life from the investigative process.”
Tabler released an Interoffice Correspondence relating his personal history to his superiors and co-workers. The packet included a psychological evaluation by a former U.S. Air Force psychologist that upheld Tabler’s trustworthiness and reliability. Based on their testimony at his hearing, Tabler’s peers agreed with the report. According to his coworkers and supervisors, Tabler demonstrated considerable skill in carrying out his responsibilities, but due to his inability to secure the necessary security clearance, his talents were not being adequately utilized and the company was forced to let him go as a result. His former supervisor, U.S. Air Force Captain Larry Wayne Kern believed Tabler to be honest, trustworthy, and reliable and said that Tabler had “a specific and unique contribution to make in the field.”
While Tabler mounted his defense, the push for equality of sexual orientation had begun to coalesce to a greater degree than in previous decades. By the 1970s, the gay liberation movement had become a dominant force, one undoubtedly shaped by other social movements of the day. For example, in Los Angeles, Morris Kight founded the city’s chapter of the Gay Liberation Front in 1969.
During the 1960s, anti-Vietnam war militancy exhibited by the New Left, the “counterculture,” and Chicano, feminist, and Black Power advocates inspired gay activists as well. On 12 May 1966, L.A. residents witnessed their first gay parade in history, the “First National Homophile Protest” to end the ban on gays in the military. The protest snaked along a twenty-mile route that stretched from Downtown Los Angeles to Hollywood. Participants carried signs that cajoled onlookers to “Write LBJ Today” and pointed out the fact that “Ten Percent of all GI’s are Homosexual.” The National Conference of Homophile Organizations had planned demonstrations in five cities across the county, but only Los Angeles held a parade. Unfortunately for organizers, the media paid little attention. The Los Angeles Times declined to cover the demonstration unless reports of injuries surfaced.
Agreement within the gay community regarding efforts like that of Tabler was not universal. Not all members of the Gay Liberation Movement believed that gay men and women should be pursuing employment in fields such as the military or defense industry. The ideology of movements that leaned left of center or in some cases fully left, combined with the residue of the Vietnam War, created an internal debate among activists. Why would an ostensibly liberal, politically aware gay man or woman want to work for a warmongering United States government or the various agencies that were seen as (at best) complicit in domestic and foreign policies that victimized minorities and the poor?
Not all members of the Gay Liberation Movement believed that gay men and women should be pursuing employment in fields such as the military or defense industry.
Others like Richard Gayer, a colleague of Kameny’s and a lawyer who represented numerous gay men and women in security clearance cases, believed such efforts served a larger purpose. Gayer had brought his own case regarding discrimination over security clearances earlier in the 1970s, and also sought Kameny’s aid. He explained the importance of such a struggle years later: “There are some among us who argue that because no one should work for agencies as questionable as the CIA, we shouldn’t litigate anti-Gay discrimination by them,” he wrote. “If the government says that Gays are not to be trusted with sensitive information and are otherwise unreliable, then we are likely to be excluded from any employment (private or governmental) that involves such information or requires reliability and dependability.” Whether or not one supported the military industrial complex was beside the point. Anti-gay governmental policies begat anti-gay policies society-wide, he argued. For Gayer, Tabler and others, it came down to a simple fact: “Gay people, like any other class of citizens, should be free to choose their careers without fear of discrimination as they advance their chosen fields.” The inability to do such reverberated throughout society in ways that further circumscribed life for homosexuals.
During the 1970s, newly aggressive gay organizations and activists began to dominate the movement, such as PRIDE and the Gay Liberation Front Los Angeles (GLFLA), formed to push for a place in the public sphere for gays. “As you may know, Gay Liberation Front Los Angeles has become the center of military resistance for the gay community,” GLFLA leader Mark Lareau wrote Kameny in 1971. The GLFLA viewed Kameny as uniquely skilled in battling discrimination against homosexuals in the military and government, sending him dozens of letters from G.I.s; some from military personnel trying to escape service due to homophobia in the armed services and others attempting to hold on to the career they had built in the military now under threat due to their homosexuality. In other ways, the city’s gay community began to assert itself more openly even opening the Gay Community Services Center in 1971. The intersection of the Vietnam War and the city’s vibrant gay liberation movement made Los Angeles a hotbed of activism.
Swept up in this fervor, Tabler too became politically active, at one point joining forces with GLFLA leader and founder Morris Kight to challenge the state’s anti-sodomy and fellatio legislation. Tabler, along with five others, formed the “Felons Six,” a group that “confessed” to engaging in “oral copulation of each other.” When authorities refused to prosecute them, Kight made a citizen’s arrest in front of the L.A. Press Club and brought them to authorities. Law enforcement continued to refuse to prosecute the group, thereby demonstrating California laws governing the private sexual activity of adults to be baseless. Kight testified on Tabler’s behalf at his clearance hearing and explained that the point of the demonstration was to “create a court test case with which to challenge and hopefully strike down Sections 286 and 288A of the California penal code,” which made anal and oral sex illegal. Since the city’s attorney general declined to pursue the case, the problem remained that as long as the law persisted it could be used against homosexuals in certain circumstances as in the case of Otis Tabler’s security clearance investigation and other gay men and women seeking similar clearances.
With a growing political awareness and having been denied a security clearance earlier in 1973, which resulted in job loss, Tabler appealed the decision and forced an open hearing with the Western Division Field Office of the Department of Defense, the first of its kind in U.S. history. The hearing held over four days in late July and early August of 1974, roughly two months after the “Felons Six” demonstration, at the Federal Building on Wilshire Boulevard revealed a clearance process, at least in relation to homosexuality, beset with contradictions that reflected broader societal biases of the day. Government counsel James E. Stauffer told the Los Angeles Times that “as long as these type of activities are determined to be criminal according to statues and high decisions,” the security clearance program had no choice but to conduct investigations accordingly. 
The testimony of witnesses at Tabler’s hearing demonstrated that the government’s enforcement of sodomy and perversion laws proved both selective and discriminatory. Logicon security officer Helga Angela Kuczora testified that Tabler notified her early on of his sexuality, which to her mind demonstrated his insusceptibility to blackmail. She noted that everyone else at Logicon knew about Tabler’s sexuality due to the fact that the presence of an open homosexual in a company of three hundred employees amounted to a “small Watergate.” Kuczora further critiqued the clearance process pointing out “a heterosexual is never questioned as to his sexual preferences.” She herself had engaged in sexual acts outlawed by the state but nonetheless held a Top Secret clearance. “I think the main thing here being that why [a] homosexual’s sexual activities and not a heterosexual’s activities are questioned.” Christian Julia Robinson, who had known Tabler for eight years and even carried on a sexual relationship with him at one time drew similar conclusions noting she had engaged in sodomy and oral sex with Tabler but still had qualified for a Secret clearance.
Even a government investigator testified that officials only inquired about an individual’s sexual history when they were a suspected or an admitted homosexual. Michael Roussel Dupre, a special investigator who had conducted the review of Tabler’s case admitted that he perceived Tabler as “responsible, discreet, loyal, and trustworthy “ and insusceptible to blackmail. He acknowledged that in his experience heterosexuals were almost never investigated for “consensual sexual acts,” but when an allegation of homosexuality was leveled and substantiated that “yes, the holders of security clearances who are homosexuals have their clearance taken away from them.” 
Tabler testified on his own behalf. When the government’s lawyers inquired about his sexual history notably any prevalence of one-night stands, Kameny objected, pointing out the same would not be asked of heterosexuals. Tabler told Government Examiner Richard Farr that while he believed in a strong, sound, well administered clearance system, the one he encountered had been perverted by “a very, very mentally disturbed homophobic attitude on the part of the Industrial Security Clearance Review Office and extending all the way up through and into a number of people on Capitol Hill….” In regard to state sodomy laws, Tabler viewed them as “merely words written on statue books. I believe that they do not exist.”
Tabler’s mother added emotional tenor to an already contentious hearing. She made an impassioned plea telling the government that her son was a loyal American and that as the widow of a disabled U.S. Air Force veteran, she loved her country, “But I’m horrified to find out that the Defense Department does not honor the Constitution of the United States.” She then broke down in tears.
The government could not reasonably claim that Tabler represented a blackmail risk. He was an open homosexual. His mother knew, as did all his coworkers; over twenty affidavits from colleagues attesting to this fact were submitted into evidence. Tabler even sent letters confessing to his sexuality and violation of state sodomy laws to the Los Angeles County Sheriff and District Attorney.
Though not a lawyer, Kameny represented Tabler and employed an unorthodox and unconventional approach. His opening statement lasted over ninety minutes. He called the security clearance program bigoted, politically corrupt, and vile. He accused the Department of Defense (DOD) and federal government of conducting a war on gays that both waged “relentlessly, remorselessly and mercilessly.” The homosexual community did not want to fight, but “if they want a war they will get it,” he told the government examiner.
The case drew welcome publicity. One of the most difficult aspects of the early gay liberation movement related to the mainstream media’s tendency to ignore protests, particularly those of the GLFLA. Tabler and Kameny went out of their way to force the case into the public sphere despite attempts by the DOD to avoid an open hearing. Drawing on his experiences from the 1960s, Kameny successfully attracted local and national media attention. Articles before and after the hearing appeared in numerous outlets including the Los Angeles Times, the Washington Post, the Washington Star, TheNew York Times, The Palos Verdes Peninsula News, and Newsweek, among others. Radio and television also covered the hearing including Radio-News West, KNBC, and KTTV. KTTV broadcast the closing statements of the hearing and the case even garnered attention overseas in London’s Gay News.
Though many of the articles featured headlines such as, “Homosexual in Fight to Regain U.S. Clearance,” or “Homosexual Gets Security Clearance,” in a letter to LGBT activist Barbara Gittings, Kameny expressed great satisfaction with the end result. Describing the hearing as “the much publicized California case,” Kameny believed that the “de-facto change in [DOD] policies” represented a real victory. He wrote Gittings, “[T]he war which I started formally about 1959, and which you and I fought together in its more formal stages starting about 1965 has now ended with victory.” Having won triumphs at the CSC and DOD, Kameny believe that two of the three “Federal Government battles going on since time immemorial” had been resolved, leaving the Armed Services as the last hold out. Then again, Kameny’s exuberance obscured the fact that the State Department and intelligence services remained very much resistant and would continue to be so into the 1990s. Still Kameney was correct; the ruling represented significant progress.
At the same time, organizations like the Gay Community Alliance (GCA) formed to encourage Los Angeles homosexuals to “register, vote, and think of themselves as a political force.” The GCA drafted voter slates and campaigned for gay friendly candidates. In 1973, one year after Harvey Milk had become the first openly gay individual in the state to be elected to office, in San Francisco, Burt Pines won election to become city attorney. Though not homosexual, Pines’s victory was due in great part due to his courting of the gay vote. Pines immediately pushed through reforms that more or less ended city prosecution of gay bars and promised that the LAPD would hire qualified homosexual officers. In 1975, Assemblyman Willie Brown wrote the Consenting Adults bill, which passed, repealing “all laws against homosexual acts.” While the LAPD remained hostile under the leadership of Chief Ed Davis, even continuing to conduct the occasional raid, open hostility to the city’s homosexual population had begun to recede. Granted, obstacles remained, like 1978’s anti-gay Proposition 6, but much had improved. Nationally, however, by 1975 only eleven states had decriminalized adult consensual sexual activity between same sex partners. Government officials acknowledged that members of the LGBT community in states with such laws still on the books made approval of clearances for such individuals deemed “more difficult.” The 1986 Supreme Court ruling in Bowers v. Hardwick, in which by a 5-4 vote the court upheld a Georgia anti-sodomy law, demonstrated how deeply embedded such notions were within American society and jurisprudence.
For Tabler, good news followed, although once again not without a fight. On 17 December 1974, government Examiner Richard S. Farr, who had supervised the hearing, ruled in Tabler’s favor, judging him worthy of a security clearance. However, the Department of Defense appealed the decision and even attempted to disqualify Kameny as his counsel. Still, almost exactly a year to the day, the DOD reversed course and dropped its appeal notifying both Kameny and Tabler that it had changed its policies regarding homosexuals.
Tabler became the first openly homosexual person to gain a security clearance. In contrast to his more celebratory remarks to Gittings months earlier Kameny acknowledged in the Mattachine newsletter that much work was left to be done, since now it needed to be determined that such policies would be followed. In addition, the FBI. and CIA conducted their investigations and continued to discriminate against homosexuals. Nonetheless by the 1990s, homosexuals would even be welcomed into the CIA as noted by none other than former C.I.A. Director and Secretary of Defense Robert M. Gates who in response to correspondence from the William and Mary Gay and Lesbian Alliance argued the CIA. did not discriminate and in fact “has homosexuals in its workforce.” Undoubtedly, Otis Francis Tabler’s fight contributed to such developments.
Often the military and its related private defense contractors are seen as inherently conservative institutions. Historians like Lisa McGirr have documented how the growth of the defense industry in Orange County contributed directly to the establishment of the New Right and modern conservatism. Yet, as demonstrated, for all its moral ambiguities, the military industrial complex has also provided a space for resistance and the assertion of rights and community for gay men and women across the U.S. but especially in California.
“Sexual orientation is unrelated to moral character. Both patriots and traitors are drawn from the class American citizen and not specifically from the class heterosexual or the class homosexual.
Tabler’s case and others eventually forced the government to evaluate its assumptions regarding gay and lesbian employees. During the 1985 Senate hearings, FBI and CIA officials stuck to their narrative regarding the susceptibility of LGBT employees to blackmail yet could not muster a single example. In 1991, a government commissioned studied found that of one hundred seventeen documented cases of espionage only six involved gay men or women, and none of those half dozen had committed espionage due to blackmail. The report’s author came to the following comprehensible conclusion: “Sexual orientation is unrelated to moral character. Both patriots and traitors are drawn from the class American citizen and not specifically from the class heterosexual or the class homosexual. In the end, all it took was passionate efforts from a thirty-one-year-old systems analyst in California and a militant World War II veteran in Washington D.C., but the moral arc of the U.S. government finally began to bend toward justice after decades of protest fueled by the aims of reaching a state of love, respect, and acceptance.
 Chuck Schoen, “General Colin Powell Makes Rash a Rash Statement Based Only on Conjecture,” The Newsletter Veterans Council for American Rights and Equality, March 1992, Service Academies Gay, Lesbian, and Bisexual Alumni Records, Manuscript Division, Library of Congress; Craig Anderson, “Discharged veteran, 65, still battles for gay military rights,” The Press Democrat, 11 March 1991, Service Academies Gay, Lesbian, and Bisexual Alumni Records, Manuscript Division, Library of Congress
 Robert Gates to Michael A. Pemberton and Thomas P. Rowan, 6 March 1992, Folder 3, Box 42, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Mattachine Society of Washington D.C., “Homosexual wins final award of security clearance,” Press Release, 4 August 1975, Folder 9, Box 158, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Kathy Burke, “Homosexual in Fight to Regain U.S. Clearance,” Los Angeles Times, 4 August 1974.
 John D’Emilio, Sexual Politics, Sexual Communities (Chicago: University of Chicago Press, 1983); Alan Berube, Coming Out under Fire: The History of Gay Men and Women in World War II (New York: Free Press, 2000).
 Daniel Hurewitz, Bohemian Los Angeles and the Making of Modern Politics (Oakland: University of California Press, 2007), 232.
 Stuart Timmons, The Trouble with Harry Hay: Founder of the Modern Gay Movement, (Boston: Alyson Publications, 1990), 117-118, 130-31. During World War II, Hay worked on developing a pilotless aircraft at Interstate Aircraft in Los Angeles. He soon moved on to Avion Aircraft where his supervisor made efforts to convince Hay to enroll in Cal Tech to study systems engineering, but his inability to get a security clearance due to his communist affiliations resulted in a career of lower level manufacturing work such as his position at a downtown firm following the war, Leahy Manufacturing.
 Margaret O’Mara, Cities of Knowledge: Cold War Science and the Search for the Next Silicon Valley (Princeton, NJ: Princeton University Press, 2005), 202.
 David K. Johnson, The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government (Chicago: University of Chicago Press, 2004), 170-71.
 David K. Johnson, “‘Homosexual Citizens’: Washington’s Gay Community Confronts the Civil Service,” Washington History 6 (1994/1995): 62; David K. Johnson, The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government (Chicago: University of Chicago Press, 2004), 174, 184.
 Johnson, The Lavender Scare, 170-171. Several U.S. governmental agencies had begun purging homosexual employees years before the 1953 executive order.
 Otis Francis Tabler, Interoffice Correspondence: Request for your support in maintaining my right to hold an Industrial Security Clearance, 4 August 1973, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress. The underlined portion of the letter was written by Tabler.
 Ibid.; Franklin Drucker M.D., Re: Otis Frank Tabler, 14 November 1972, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Larry Wayne Kern, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 30 July 1974, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Gary M. Lareau to Frank Kameny, 11 March 1971, Frank Kameny Papers, Folder 3, Box 92, Manuscript Division, Library of Congress.
 Faderman and Timmons, Gay L.A., 180; Morris Kight, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 30 July 1974, Frank Kameny Papers, Folder 1, Box 35, Manuscript Division, Library of Congress.
 “Pentagon Opens Security Review,” The New York Times, 4 August 1974; Kathy Burke, “Homosexual in Fight to Regain Clearance,” Los Angeles Times, 4 August 1974.
 Christian Julia Robinson, testimony, 31 July 1974, Frank Kameny Papers, Folder 2, Box 149, Manuscript Division, Library of Congress.
 Kathy Burke, “Homosexual in Fight to Regain Clearance,” Los Angeles Times, 4 August 1974; Michael Roussel Dupre, testimony, Otis Francis Tabler Jr. v. OSD73-86, 31 July 1974, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress; Helga Angela Kuczora, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 31 July 1974, 198-99, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress; Christine Julia Robinson, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 31 July 1974, 360, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Otis Francis Tabler, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 30 July 1974, 476, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Mary Aull Tabler, testimony, Otis Francis Tabler Jr. v. OSD 73-86, 30 July 1974, 46-50, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress, 166-67.
 Ronald Den Hartwick, Affidavit, 28 June 1974, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress; Frank Terrio Cummings, Affidavit, 28 June 1974, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress; Wray Davison Bentley, Jr., Affidavit, 28 June 1974, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress. These are three examples from over twenty submitted.
 Otis Francis Tabler to Sheriff Peter J. Pitchess, 17 December 1973, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress; Otis Francis Tabler to Honorable Joseph J. Busch, District Attorney, County of Los Angeles, Folder 4, Box 149, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Frank Kameny, opening statement, i, 30 July 1974, 46-50, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Kathy Burke, “Homosexual in Fight to Regain U.S. Clearance,” Los Angeles Times, 4 August 1974; “Pentagon Opens Security Review,” TheNew York Times, 4 August 1974; “Homosexual Gets Security Clearance”, Washington Post, 2 February 1975; “Gay Liberation,” Newsweek, 3 February 1975; Vernon A. Guidry, Jr., “Pentagon Easing Gay Curbs,” Washington Star, 15 August 1975; Frank Kameny to Gay News, 4 March 1975, Folder 14, Box 34, Frank Kameny Papers, Manuscript Division, Library of Congress; Otis Francis Tabler Jr. v. OSD 73-86, 30 July 1974, Folder 1, Box 35, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Frank Kameny to Barbara Gittings, 31 July 1975, Folder 1, Box 4, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Vernon A. Guidry, “Pentagon Easing Gay Curbs,” Washington Star, 15 August 1975.
 Michael J. Graetz and Linda Greenhouse, The Burger Court and the Rise of the Judicial Right (New York: Simon and Schuster, 2016), 208-211.
 Mattachine Society of Washington D.C., “Homosexual wins final award of security clearance,” Press Release, 4 August 1975, Folder 9, Box 158, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Robert M. Gates, Letter to William and Mary Gay and Lesbian Alliance, 6 March 1992, Folder 3, Box 42, Frank Kameny Papers, Manuscript Division, Library of Congress.
 Lisa McGirr, Suburban Warriors: The Origins of the New Right (Princeton, NJ: Princeton University Press, 2002).
 Paul M. Rosa, “Gays and the Security Myth,” Washington Post, 10 July 1998; Theodore R. Sarbin, “Homosexuality and Personnel Security” (Monterey, CA: Defense Personnel Security Research and Education Center, 1991), 25, 30, 32.
Ryan Reft is a historian of the modern U.S. in the Manuscript Division at the Library of Congress. He is a contributor to and co-editor of the forthcoming anthology East of East: The Making of El Monte, 1700-2017 and writes regularly for KCET. His work has appeared in the Journal of Urban History, Souls, California History, and Southern California Quarterly among other publications and anthologies.