#los_angeles

    • Première phrases :

      On peut de moins en moins affirmer que Blade Runner est de la science-fiction. Ce film a évolué de la science-fiction vers une sorte de réalité. […] Je crois que Blade Runner a visé juste.

      MAIS OÙ SONT LES PUTAINS DE BAGNOLES QUI VOLENT EN 2023 ?

  • A Los Angeles, la maison individuelle, un modèle même pour les sans-abri


    Une allée de maisons dans le Tiny Home Village du quartier de Westlake, à Los Angeles, le 19 juillet 2023. Le site accueille des personnes sans-abri. Il est entouré d’une palissade pour le protéger des regards de l’extérieur. SINNA NASSERI POUR « LE MONDE »

    « Los Angeles, rêve d’architecte » (3/6). La Cité des anges compte 42 000 personnes sans abri, dont une petite partie est relogée dans des bicoques de 5 mètres carrés. La nouvelle maire a fait de leur hébergement sa priorité, mais la tâche s’annonce rude, dans une ville où les logements sociaux n’existent pas.

    Au cœur de Westlake, quartier populaire et à majorité latino du centre de Los Angeles, une cinquantaine de minuscules maisons ont été installées sur une parcelle en lisière d’un parking. C’est un village pour #sans-abri. Une palissade empêche de voir l’intérieur. Ailleurs, on suspecterait une activité honteuse ou secrète. Mais, à Los Angeles, la moindre terrasse de café est bardée de rouleaux de barbelés, les galeries d’art prospèrent à l’ombre des hangars, les villas aux façades aveugles signalent la richesse des propriétaires. La clôture est signe de distinction.

    « Elle garantit la sécurité des habitants, assure Deborah Weintraub, l’architecte en chef de la ville qui pilote ces Tiny Home Village qu’on voit fleurir depuis deux ans en différents points de la ville. L’autre jour, l’un d’eux m’a lancé : “Ça y est, on a notre propre gated community [quartier résidentiel fermé]. C’était une blague, mais il y avait une pointe de fierté dans sa voix. »

    D’un village à l’autre, le design peut varier, mais le modèle est le même : des bicoques en plastique préfabriquées, 5 m2 de surface, un ou deux lits à l’intérieur, une tablette et une grosse poubelle pour ranger ses affaires. Les douches sont collectives. Conçus pour des séjours de trois ou quatre mois, ils sont une alternative aux grandes tentes et petites chambres d’hôtel qui résumaient, jusque-là, l’offre d’#hébergement_temporaire de la ville. « Le but est que les gens se stabilisent pour évoluer ensuite vers un logement permanent. » A Westlake, les maisons sont blanches, mais le sol est bariolé, ainsi que les tables de pique-nique et leurs parasols. « La couleur, c’est la meilleure manière de faire quelque chose avec rien, se félicite Michael Lehrer, l’architecte du lotissement. C’est l’idée du sigle Hollywood planté sur la colline, qu’on voit de très loin dans la ville : quelque chose de très simple, avec un impact très fort. » Il part du principe que les résidents apprécieront.

    Risque de récidive

    Les couleurs s’adressent aussi aux riverains, souvent hostiles à l’implantation de populations défavorisées : c’est le phénomène nimby – pour not in my backyard, « pas dans mon jardin ». Tout, dans le projet, vise donc à le rendre acceptable : l’implantation sur un terrain inexploitable, le faible coût des maisons (10 000 dollars, soit un peu plus de 9 000 euros), le caractère démontable de l’ensemble… « On vend le truc comme provisoire, explique l’architecte. C’est plus facile à pérenniser quand les gens ont vu que ça se passait bien… »

    Dans le village de Westlake, les journalistes n’ont pas le droit de parler aux résidents. La visite se fait en compagnie d’un employé d’Urban Alchemy, l’ONG chargée de la gestion du site. « Ne vous fiez pas à l’entrée ultrasécurisée : on n’est pas en prison, ici ! », claironne-t-il. Les résidents sont libres d’entrer et de sortir à leur guise, mais, à l’intérieur, il y a des règles. Pas de drogue. Les armes, que chacun dans ce pays, sans-abri ou non, a le droit de posséder, doivent être déposées dans un casier à l’entrée. Prise de tension et de température toutes les heures, y compris pendant le sommeil. Et toutes les demi-heures pour ceux qui souffrent d’addictions sévères. « C’est pour leur sécurité, se défend le guide : on ne veut pas se retrouver avec un mort ! »

    Les règlements varient d’un village à l’autre, nous assure Deborah Weintraub, pour qui ces villages « ont le mérite de sortir les gens de la rue ». L’expérience a toutefois prouvé que, sans accompagnement médical, sans prise en charge psychologique, le risque est fort qu’ils y retournent vite. Ce n’est pas en trois mois qu’on guérit d’une addiction aux opiacés, ni des dommages causés par des années à vivre dans des cartons.

    Une tâche immense

    Karen Bass, maire démocrate de Los Angeles depuis près de neuf mois, a promis des solutions plus durables. Originaire de la ville, cette femme noire a centré sa campagne sur la crise des sans-abri et y consacre en 2023 pas moins de 1,3 milliard de dollars, soit 10 % de son budget. En juin, la municipalité avait déjà acheté des dizaines d’hôtels et de motels pour reloger 14 000 personnes. Des critiques ont fusé pour dénoncer une politique du chiffre au détriment de l’accompagnement ou de la prise en compte des cas individuels. Mais la maire assume : « On ne peut pas se permettre d’attendre l’étude qui détaillerait le plan parfait. On fabrique l’avion alors qu’on est déjà en vol. »
    https://www.lemonde.fr/series-d-ete/article/2023/08/10/a-los-angeles-la-maison-individuelle-un-modele-meme-pour-les-sans-abri_61849
    https://justpaste.it/aizca

    #pauvreté #logement #U.S.A #Los_Angeles

  • Interview : ‘Nightcrawler’ Director Dan Gilroy Talks Jake Gyllenhaal, Robert Elswit & Sociopaths
    https://www.indiewire.com/2014/10/interview-nightcrawler-director-dan-gilroy-talks-jake-gyllenhaal-robert-e

    29.10.2014 by James Rocchi

    Interview: ‘Nightcrawler’ Director Dan Gilroy Talks Jake Gyllenhaal, Robert Elswit & Sociopaths

    Writer and director Dan Gilroy speaks in a manner in which ideas, facts and concepts come tumbling out, his train of thought speeding fast but never in danger of going off the track. The credited screenwriter on films like “The Bourne Legacy,” the long-forgotten “Freejack,” the family-friendly heroics of “Real Steel” and the grim fairy tale “The Fall,” Gilroy makes his directorial debut with “Nightcrawler.” Starring Jake Gyllenhaal, the film depicts the rise and fall of Lou Bloom, a self-motivated striver who bootstraps into a freelance job filming the car crashes and crime scenes of L.A. at night for the local news channels that thrive on blood and bad news (our review).

    Gilroy spoke with The Playlist about what cinematographer Robert Elswit (“There Will Be Blood,” “Boogie Nights”) brought to the film, the economic realities behind the Lou Bloom character, Jake Gyllenhaal’s performance and the film’s depiction of the dark dream of L.A. that still feels real and fresh.
    Popular on IndieWire

    I’m not from here, but I live here— and I’m so used to cliché Hollywood landmarks— and I love how much this film is about the open-all-night, strip-mall, come-in-through-the-loading-dock L.A. Is telling the story of Los Angeles as a real town part of making this film?
    Yeah, in the sense of not going for landmarks that you typically see; we studiously avoided those. I find Los Angeles to be a place of great physical beauty, in which you have the oceans and the mountains and there’s a vertical sense and a desert light that you can see forever.

    When I sat down with Robert Elswit, who lives in Venice, we talked about shooting Los Angeles in a way that traditionally you don’t see, which is that most films look at L.A. in a desaturated way, going beyond the specific locations you were talking about: Desaturated, and they focus on cement and the highways and the concrete —downtown is prominent.

    We studiously avoided shooting downtown; it’s the easiest place to shoot, they will give you a permit there in a second, but we didn’t want to shoot there because everyone shoots down there. Just like we didn’t want to shoot at Hollywood and Vine, just like we didn’t want to shoot the big landmarks.

    We wanted to show the functional side of the city, the strip-malls and the sprawl and the size of it —it just seems to go on forever, but hopefully we also wanted to catch some sort of physical beauty, that at night there is this clarity of light and you can see long distances. So we used great depth of field in the shots rather than soft focus, and we tried to get wide angles as much as possible. Sometimes we were down to 14mm lenses to really make it wide angle, because in an equation sense, the character of Lou is like a nocturnal animal that comes down out of the hills at night to feed. Jake would call him a coyote. That’s sort of the symbolic animal; that’s why he lost all the weight because coyotes are always hungry.

    So Robert Elswit and I were always looking at it as almost like an animal documentary. The landscape that the animal moves through is physically beautiful, even though that might not be the term that you would use to describe our film. I found it beautiful, in the sense that you can see far and the neon lights sort of popped out, and the yellow sodium vapor lights really gave it an interesting sort of glow, so we’re trying to make it look beautiful.

    When Michael Mann was shooting ”Collateral,” they asked him “Why digital?” And his answer was “Because digital picks up 80 different colors in what film reads as ‘black.’” Was that part of the decision to go with video at night?
    The real reason why people are going with digital is that it’s extraordinarily mobile and it’s cheaper and it has a great image, and you just can’t beat it at night. It’s puling in variations of colors, it’s pulling in lights from 40 miles away —a candle would be seen.

    Robert Elswit used the Alexa digital to shoot at night, but we shot our daytime scenes on [35mm] film. And that was a choice that Robert wanted … because he is an extraordinary proponent of film, and when you listen to Robert speak, you realize the level of technology that film has achieved, and the quality of image [that film provides] is a far superior image ultimately under the right circumstances than digital. It’s just not used as much anymore for practical reasons.

    What I love about Lou is that he feels like if you shoved the Great Gatsby under a rock and just fed him self-help books and other forms of bullshit for 50 years, and then saw what crawled out. Where did that whole “achiever” element of Lou’s personality come from?
    I had heard about the nightcrawling world, and I’m very aware that there are tens of millions of young people around the world who are facing bleak employment prospects. Italy has 45% unemployment under 30 —it’s insane. So [I was exploring] idea of a desperate younger person looking for work

    I stared to think about the character, and that he didn’t have to be classically heroic. He could be an anti-hero. I stared to think of the anti-hero; I think you have to be careful and aware that you don’t want it to be a reductive study of psycho-babble. You are looking for something more. You want the audience to connect in a way that goes beyond a just sort of a pathological study. The idea of a character who had an implied back story of abuse and abandonments; I pictured him alone as a child, and all he had was his computer and he was going on his computer a lot surfing —this is the back story. And in his desperate loneliness and probably raging insanity, the precepts of capitalism became a religion to him. If you only had [one] direction to climb, which is up, then to have a goal would give sanity. I imagine he started to scour the internet for self-help maxims and aphorisms, and Forbes 500 corporate-HR manual speak. I believe he’s an uber-capitalist, and capitalism is a religion, it’s a religion that gives him sanity and which ultimately drives him insane and pushes him over the edge. Its’ a mindless pursuit of a goal that can never be achieved. That ultimately leaves only a hunger, which goes back to the coyote —this perpetual hunger that can never be satiated.

    The whole Zen thing of that wanting is to suffer, which capitalism never seems to get, because all capitalism is wanting.
    It’s the perpetual spirit of poverty. I don’t know another system other than capitalism, maybe some mixed socialism thing. I wouldn’t want to hazard what the better system was, but I think we’re entering into this period of hyper free-market [capitalism] that’s becoming very much like the jungle, in which it is acceptable that the weak perish at the hands of the strong, and that’s the way it’s supposed to be. And I feel like the world as I see it —and this is a personal film on a lot of levels— has been reduced to transactions, and that Lou thrives in that world because that’s the only thing that has any relevance to him. And we approach it as a success story of a guy who is looking for work at the beginning and is the owner of a successful business at the end, and the reason I approach it that way is because I didn’t want at the end for the audience at to go, “oh, the problem is this psychopath!” I wanted the audience to go “maybe the problem is the world that created and rewards this character.” Maybe it’s a larger question.

    I keep thinking of “Broadcast News.” There’s that quick line of “you can get fired for that!” and Hurt replies “I got promoted for that!” Everything that Lou does which he knows is wrong, he gets promoted for and gets more success from.
    That context has to do with human manipulation, and manipulation in the news now is rewarded to some degree. Edward R. Murrow is doing pirouettes in his grave right now at the concept that now journalism is now not only manipulating but being driven by that [kind of manipulation].

    The phrase that I love that news people keep coming back to in the film to talk about the kind of stories they want to highlight is “urban crime creeping to the suburbs.” It’s so sanitized, it just suggests geographic creep, but that’s not what it is at all.
    No. On a specific level, it’s bullshit jargon hiding something truly terrifying. It’s perpetuating the myth and the horror that minorities are dangerous. And if you live in a suburban area regardless of your race, you are in danger from these desperate unwashed people who are going to creep over your hedge and somehow harm you and steal your car. That’s the true tragedy of this narrative that’s being presented by the news, when people then go to sleep and wake up in the morning and get in their car, and they encounter “a minority,”or someone who would fall into the category of that narrative of the “urban person.” You don’t approach them in an open, friendly and harmonious way. You look at them as instantly threatening and dangerous.

    And I don’t want to tie it into current top-level stories, but what happened in Ferguson and what’s happening in other cities, where a black person standing alone is perceived and treated as dangerous, and in New York City they are frisked in such outlandish statistical numbers: I feel that there’s a pervasive, fearful narrative that’s being projected on all of us to create negative consequence.

    When capitalism becomes dog eat dog, the problem is a) who wants to be a dog? And b) who wants to eat one?
    Right, you’re going to be one or the other. And Lou is someone who has made peace with it and understands it and has no emotional attachment to thwart him or to slow him down. I find much of my energy in a day is worrying about people I love or myself. I wake up at 3 o’clock in the morning and find myself worrying about myself and friends and stuff and people I’ve encountered. Lou is unencumbered by that, and it gives him great ability to focus in and hunt.

    I know actors often do this, for their character, “I wrote 8 pages of backstory.” Do you write backstory, or do you just let it happen?
    I wrote no back-story for Lou.

    There’s a scene where he’s interviewing Rick for the position, and Rick says “yeah, I’m homeless,” and out of nowhere Lou asks “do you trick?” and he’s very insistent about it. It just filled my mind up with possibilities for Lou …
    When I wrote that moment, because I had no back story, I was definitely trying to imply that Lou had tricked, and that tricking to him had no emotional weight whatsoever. It was something he had done to survive, and he doesn’t live in the world that we live in, in the sense that we put moral judgments on things or we’re burdened by the acts we do. Lou’s like an animal —you do what you need to do to survive, and then you just move on. That was supposed to be in there, and hopefully open up the door that you could look at and say “oh, that’s something they’re revealing about the character.”

    The film uses the language of cinema to get you on Lou’s side; early on, you see him have an altercation with a stranger … and then Lou walks away bearing his victory trophy, with us never seeing the stranger again.
    We wanted the audience to have empathy for the character —and yet we start the movie in a way that he’s doing an act of violence. And that was a little nerve-wracking. I knew it was important to show that side of the character right up front, to not hide that: to put the meat on the table and say “this is somebody who’s dangerous.” But it became a challenge to try and win them back, so in the salvage yard scene, the next scene, he’s so earnestly looking for work, and he’s so polite and so respectful and he so wants a job that I felt those two things opened up a gulf in the audience. The audience is going “oh, at first he’s a criminal … wait a minute, he’s also a young man looking for work, and he seems earnestly responsible …”

    So [we wanted] to keep the audience on their toes about the character. Jake and I never wanted to supply answers for the character; I always imagined the character has a big question mark on his forehead that only gets bigger as the film goes along, so that at the end, you’re even more baffled: what makes him tick? “What Makes Sammy Run?” That’s a great title, and that really sums up that element where in some ways we’re crossing over to this territory: what makes this person tick? And I believe what makes him tick is that —and he feels that it’s okay by the cues and signals he’s received from society— he’s stripped away all emotional connections and looks at the world as a business transaction. And that the bottom line is the only thing that’s important, and if you pursue that, you will be rewarded and loved.

    …And if you were wrong about the bottom line being the only thing that’s important, you wouldn’t be being rewarded.
    I believe —and when I was writing this film, I firmly believed— that if you came back in 10 years, Lou would be running a multi-million dollar, multi-national corporation. Lou would do better in comparison between himself and a corporate head who broke the company apart and put 40,000 people out of work and then went off to build an 8,000-foot square home and wound up on the cover of BusinessWeek Magazine…

    …For increasing shareholder value.
    These attributes are celebrated, and I believe Lou is a small fish compared to other people. And I believe Lou is will do well and thrive when the movie ends.

    It’s the reverse of a canary in a coal mine: The better he does, the worse trouble we’re in.
    Absolutely. I believe it’s only the stupid sociopaths that are caught, and I believe most sociopaths are insanely brilliant in deciphering what human cues need to be manipulated, and the sociopaths know people like lions know gazelles; they know every weakness, they know every smell, they know every element that can be manipulated … and Lou understands people and knows how to do that.

    How tricky was it when you have to shoot Lou shooting news footage?
    It wasn’t difficult in the actual shooting of it, but it became difficult, because usually when we’re shooting over Lou’s shoulder, we’re shooting at the little viewfinder on the camera, and that’s the one time we went soft-focus. We wanted people to focus on that viewfinder, we wanted people to lean in and go “what is that image? What am I looking at?” And that became difficult in post, because sometimes the image that we were shooting didn’t translate practically, and we had to do CGI sometimes, so putting the images in the little viewfinders became an issue.

    But the choreography, the sightlines of the whole Chinese restaurant sequence, and the fact you have to do stunts and effects at a 60-foot remove … that had to be a very tough night.
    It was a very tough night, because we had to practice that in rehearsal, where we had to understand what you could see and what you couldn’t see from our point of view of over Lou’s shoulder, because you’re not in it. You’re spending a lot of money and big stunts are going off, we’re breaking glass, and you’re definitely wondering. We practiced it, though; we measured it out and recreated everything on a soundstage. Robert (Elswit) exactly replicated all the cameras, and he would look and we would shoot and he would say “yes, I can see the gun” —when the guy pulls the gun out from under the table— Robert would say, “yes, from 75 feet away and with this lens, I can see the gun, so we’ll go with that. And we’ll go with this lens for the cops coming in.” We had to plan all that out; that was hard.

    Is this more specifically a movie about media everywhere, or could it only happen in L.A.? Could you have done an East Coast version?
    No … they have nightcrawlers in other urban markets, but they’re not as predominant and prevalent; they’re mostly found in L.A. for a couple reasons. One, at 10 o’clock at night, the local TV news stations let their union crews go, because they get double-time, so there’s a void. Secondly, Los Angeles has enough crime to sustain a good healthy stringer-slash-nightcrawling market, and some of the smaller markets don’t have that. And third, there’s a very large population here of people who watch TV. All those things intersect; you can find some nightcrawlers in other cities, but not to the extent we have them here.

    Really brief question: What are the best movies about media no one knows about?
    Well, there’s one I love which is not dissimilar in terms of tone: “Ace in the Hole” with Kirk Douglas. And I think it says a lot about what people will do to get a story and how you can manipulate a story. Obviously, “Network” —which is probably one of the great films of all time. “Broadcast News” is another one about journalism that I love. “To Die For,” with Nicole Kidman, is great —her desire to be a part of news, how she uses news to further her career and how it can drive you insane. I love that movie.

    Is it a not-great thing that we’re living in an age where people learn how to be human from electronic media? Is that perhaps not to our overall benefit?
    It’s not to our overall benefit, because the internet is a wonderful purveyor and supplier of reams of information, but it rarely gives you any indication of how to use that information or certainly how to interact with people socially. There are websites that do that, but people who are on a search for information don’t often stop at the door and say “how do I use this information?” It’s scary! Information is a powerful tool, and if you don’t get the instruction manual that came with it, it can have negative consequences. And it does, in Lou’s case.

    “Nightcrawler” opens Oct. 31.

    #cinéma #capitalisme #USA #Los_Angeles #crime #télévisin #news

  • The Radical Imagination of Mike Davis
    https://jacobin.com/2022/11/mike-davis-southern-california-capitalism-struggle

    When Mike Davis died last month, he was a celebrity, but hardly one drawn to his effervescent fame. City of Quartz, his surprise bestseller, won him an international audience in 1990. Davis later reported himself “utterly shocked” by the book’s success. Thereafter, he might have spent decades on the lecture circuit, but Davis plowed ahead, turning out one volume of Marxist-inflected social criticism after another, often contemplating an amazingly disparate set of apocalyptic challenges: climate change, world hunger, viral pandemics, and the rise of homegrown fascism.

    Je vous propose de lire l’extrait suivant de son introduction dans City of Quartz. On y découvre une comparaison statistique qui en dit long sur l’intensité de la violence à laquelle sont exposés les classes populaires du pays qui se réserve le droit exclusif de faire valoir ses intérêts manu militari .

    Homicide is still the largest single cause of death for children under eighteen in Los Angeles County. Years ago, I used the Sheriff Department’s ‘gang-related homicide’ data to estimate that some 10,000 young people had been killed in the L.A. area’s street wars, from the formation of the first Crips sets in 1973—4 until 1992. This, of course, is a fantastic, horrifying figure, almost three times the death toll of the so-called ‘Troubles’ in Northern Ireland over a roughly similar time span. It is even more harrowing when we consider that most of the homicides have been concentrated in a handful of police divisions. Add to the number of dead the injured and permanently disabled, as well as those incarcerated or on parole for gang-related violations, and you have a measure of how completely Los Angeles – its adult leaderships and elites – has betrayed several generations of its children.

    Cette brève mise en relation nous fait comprendre que ces films dits de suspence comme The Warriors et Assult on Precinct 13 constituent effectivement des reconstitutions dramaturgiques de la réalité vécue par nos amis étatsuniens.

    The Warriors
    https://en.m.wikipedia.org/wiki/The_Warriors_(film)

    Assault on Precinct 13
    https://en.m.wikipedia.org/wiki/Assault_on_Precinct_13_(1976_film)

    On trouve les oeuvres de Mike Davis chez notre vendeur préféré de livres anglais et dans les bibliothèques clandestines de l’internet. Cet auteur exceptionnel nous indique toujours le chemin vers une compréhension des conditions d’existence sous l’impérialisme

    https://en.m.wikipedia.org/wiki/Mike_Davis_(scholar)

    Books
    Nonfiction

    Prisoners of the American Dream: Politics and Economy in the History of the U.S. Working Class (1986, 1999, 2018)
    City of Quartz: Excavating the Future in Los Angeles (1990, 2006)
    Ecology of Fear: Los Angeles and the Imagination of Disaster (1998)
    Casino Zombies: True Stories From the Neon West (1999, German only)
    Magical Urbanism: Latinos Reinvent the U.S. Big City (2000)
    Late Victorian Holocausts: El Niño Famines and the Making of the Third World (2001)
    The Grit Beneath the Glitter: Tales from the Real Las Vegas, edited with Hal Rothman (2002)
    Dead Cities, And Other Tales (2003)
    Under the Perfect Sun: The San Diego Tourists Never See, with Jim Miller and Kelly Mayhew (2003)
    The Monster at Our Door: The Global Threat of Avian Flu (2005)
    Planet of Slums: Urban Involution and the Informal Working Class (2006)
    No One Is Illegal: Fighting Racism and State Violence on the U.S.-Mexico Border, with Justin Akers Chacon (2006)
    Buda’s Wagon: A Brief History of the Car Bomb (2007)
    In Praise of Barbarians: Essays against Empire (2007)
    Evil Paradises: Dreamworlds of Neoliberalism, edited with Daniel Bertrand Monk (2007)
    Be Realistic: Demand the Impossible (2012)
    Old Gods, New Enigmas: Marx’s Lost Theory (2018)
    Set the Night on Fire: L.A. in the Sixties, co-authored by Jon Wiener (2020)

    Fiction

    Land of the Lost Mammoths (2003)
    Pirates, Bats, and Dragons (2004)

    #USA #Los_Angeles #violence #jeunesse #marxisme #sciences #guerre

  • Book Review Roundtable: Fragments of the City: Making and Remaking Urban Worlds
    https://urbanpolitical.podigee.io/52-fragments_city_review

    In this episode moderated by Nitin Bathla, the author Colin McFarlane discusses his recent book Fragments of the City with the critics Theresa Enright, Tatiana Thieme, and Kevin Ward. In analyzing the main arguments of the book, Theresa discusses the role of aesthetics in imagining, sensing, and learning the urban fragments, and the ambivalence of density in how it enables and disables certain kinds of politics. She questions Colin about the distinctiveness of art as a means to engage and politicize fragments, and how can we think about the relationships between fragment urbanism, density and the urban political across varied contexts. Tatiana analyses how the book journeys across a range of temporal scales of knowing fragments from its etymology to autobiographical experiences of (...)

    #urban,political,book_review,mcfarlane,fragments,city
    https://main.podigee-cdn.net/media/podcast_13964_urban_political_pdcst_episode_769948_book_review_rou

    • Fragments of the City. Making and Remaking Urban Worlds

      Cities are becoming increasingly fragmented materially, socially, and spatially. From broken toilets and everyday things, to art and forms of writing, fragments are signatures of urban worlds and provocations for change. In Fragments of the City, Colin McFarlane examines such fragments, what they are and how they come to matter in the experience, politics, and expression of cities. How does the city appear when we look at it through its fragments? For those living on the economic margins, the city is often experienced as a set of fragments. Much of what low-income residents deal with on a daily basis is fragments of stuff, made and remade with and through urban density, social infrastructure, and political practice. In this book, McFarlane explores infrastructure in Mumbai, Kampala, and Cape Town; artistic montages in Los Angeles and Dakar; refugee struggles in Berlin; and the repurposing of fragments in Hong Kong and New York. Fragments surface as material things, as forms of knowledge, as writing strategies. They are used in efforts to politicize the city and in urban writing to capture life and change in the world’s major cities. Fragments of the City surveys the role of fragments in how urban worlds are understood, revealed, written, and changed.

      https://www.ucpress.edu/book/9780520382244/fragments-of-the-city

      #villes #urban_matter #fragmentation #fragments #livre #marges #marginalité #Mumbai #Kampala #Cape_Town #Los_Angeles #Berlin #Dakar #Los_Angeles #Hong_Kong #New_york #matérialité
      #TRUST #master_TRUST

      ping @cede

  • #Black_Panthers (1/2)

    L’#histoire captivante de l’une des organisations les plus subversives et controversées du XXe siècle. D’inspiration marxiste-léniniste, les Black Panthers s’imposèrent comme une alternative radicale au mouvement des droits civiques porté par Martin Luther King. Mêlant archives rares et nombreux témoignages, une plongée coup de poing au cœur du « #Black_Power ».

    Oakland, #Californie, 1966. Un an après les #émeutes de #Watts, à #Los_Angeles, deux étudiants, Huey P. Newton et Bobby Seale, fondent un collectif d’#autodéfense pour surveiller les actions de la police dans le ghetto noir. En devenant, la même année, un mouvement politique de libération afro-américaine, le Black Panther Party (BPP) se fait le porte-voix d’une communauté brutalisée dans une Amérique dominée par les Blancs. D’inspiration marxiste-léniniste, l’organisation s’impose comme une alternative radicale au mouvement des droits civiques porté par Martin Luther King. En parallèle à ses « #programmes_de_survie » (petits déjeuners gratuits pour les enfants, dispensaires…), elle revendique un penchant pour l’insurrection. Slogans, coupe afro, poing levé : les Black Panthers ouvrent un nouvel imaginaire de lutte pour la communauté noire. Le FBI, effrayé par l’aura du mouvement, y compris auprès de la jeunesse blanche, intensifie le contre-espionnage. L’arrestation de Huey P. Newton, mis en cause dans l’assassinat d’un policier, déstabilise l’organisation. En 1968, en réaction au meurtre de Martin Luther King, son porte-parole #Eldridge_Cleaver refuse de se rendre après un duel avec la police. Il s’exile à Alger et y crée la section internationale du parti.

    « Give More Power to the People »
    De son avènement au cœur des sixties à sa chute impitoyable, le réalisateur Stanley Nelson retrace l’histoire captivante et méconnue des Black Panthers. Luttant contre la suprématie blanche et le capitalisme, ses membres ont marqué l’imaginaire collectif par la radicalité de leur militantisme, leur rhétorique à la fois agressive et fédératrice mais aussi leurs codes vestimentaires et leur manière révolutionnaire d’occuper l’espace public. Au son seventies et groovy du titre « Give More Power to the People » des Chi-Lites, ce documentaire restitue la beauté rageuse du mouvement sans occulter ses tourments et parts d’ombre – violence et bataille d’ego – au moyen d’archives colossales et d’interviews fouillées de militants, d’agents du FBI ou d’historiens. Il rappelle aussi que son point de départ – la violence policière – est toujours d’actualité.

    https://www.arte.tv/fr/videos/098427-001-A/black-panthers-1-2

    #insurrection #violence #auto-défense #violences_policières #avant-garde #Oakland #oppression #apparence #image #Black_is_beautiful #look #médias #aide_sociale #auto-défense_armée #COINTELPRO #BPP #FBI #machisme #genre #journal #Martin_Luther_King #Algérie #mouvements_de_libération #Huey_Newton #Bobby_Seale

    #film #film_documentaire #documentaire

    ping @karine4 @cede

  • Seeing red: racial segregation in LA’s suburbs | Essay | Architectural Review

    https://www.architectural-review.com/essays/seeing-red-racial-segregation-in-las-suburbs/10042749.article

    The urbanisation of Los Angeles racially segregated its citizens through ‘redlining’ policies, an urban violence that perseveres today

    Only a few years after the 1965 Watts Riots, British architectural critic Reyner Banham declared his great and controversial love for LA in the influential 1971 book Los Angeles: The Architecture of Four Ecologies. In it he writes: ‘the language of design, architecture, and urbanism in Los Angeles is the language of movement … the city will never be fully understood by those who cannot move fluently through its diffuse urban texture, cannot go with the flow of its unprecedented life’.

    #architecture #urban_matter #los_angeles #ségrégation_raciale #racisme

  • Cruising Van Nuys Boulevard In The Summer Of 1972 In Stunning Black And White Photos By #Rick_McCloskey

    In the #Los_Angeles suburb of San Fernando Valley, Wednesday night was cruise night. A long stretch of Van Nuys Boulevard would be packed with kids and cars from all over Southern California – the place to show off your ride.

    In the summer of 1972, photographer Rick McCloskey went to Van Nuys to shoot this series of photographs, the culture on the boulevard had become an amalgamation of various lifestyles, automobiles, and very different looks and styles. The tribes included surfers, low-riders, muscle cars, street racers, and even “retro” styles from the 1950s. McCloskey’s photos offer a fascinating portrayal of the young people, their cars, and iconic backgrounds; a world that has long since vanished.

    https://designyoutrust.com/2020/05/cruising-van-nuys-boulevard-in-the-summer-of-1972-in-stunning-black-

    #Californie #Etats-Unis #photo

  • Est-ce que le #covid-19 sauve des vies ?
    http://carfree.fr/index.php/2020/04/06/est-ce-que-le-covid-19-sauve-des-vies

    Question polémique sans doute à l’heure où de nombreuses personnes meurent de ce virus, mais qui mérite d’être posée quand on constate la chute drastique de la #pollution de l’air Lire la suite...

    #Fin_de_l'automobile #Pollution_automobile #air #chine #los_angeles #microparticules #milan #NO2 #paris #santé #trafic

  • Anti-eviction map

    The Anti-Eviction Mapping Project is a data-visualization, data analysis, and #storytelling collective documenting the dispossession and resistance upon gentrifying landscapes. Primarily working in the #San_Francisco_Bay Area, #Los_Angeles, and #New_York_City, we are all volunteers producing digital maps, oral history work, film, murals, and community events. Working with a number of community partners and in solidarity with numerous housing movements, we study and visualize new entanglements of global capital, real estate, technocapitalism, and political economy. Our narrative oral history and video work centers the displacement of people and complex social worlds, but also modes of resistance. Maintaining antiracist and feminist analyses as well as decolonial methodology, the project creates tools and disseminates data contributing to collective resistance and movement building.


    https://www.antievictionmap.com
    #cartographie #cartographie_critique #cartographie_radicale #évacuation #résistance #gentrification #urban_matter #USA #Etats-Unis #histoires #histoire_orale #solidarité #logement #habitat #décolonial
    ping @karine4 @cede

  • #Los_Angeles Intersection Named After Black #LGBT Icon

    An intersection in Los Angeles’ Jefferson Park neighborhood now bears the name of revered LGBT activist #Carl_Bean.

    On Sunday, Los Angeles City Council President Herb Wesson appointed the intersection of Jefferson Boulevard and Sycamore Avenue as Archbishop Carl Bean Square.

    “Through his activism Carl Bean pioneered how we treat, educate and advocate for one of the most significant health crises of our time and he did it with a focus and passion for saving Black lives,” said Wesson in a statement obtained by EBONY.

    https://www.ebony.com/news/los-angeles-intersection-named-after-black-lgbt-icon
    #toponymie #noms_de_rue #USA #Etats-Unis #Noirs

  • L.A. might ban homeless people from sleeping on many streets. What about your block?

    A plan under consideration at City Hall would ban sleeping on streets and sidewalks within 500 feet of schools, parks, day-care facilities and some popular venues, eliminating at least a quarter of #Los_Angeles for homeless people trying to bed down at night, a Times analysis found.


    https://www.latimes.com/projects/homeless-sleeping-maps
    #bannissement #ségrégation #périmètres_d'exclusion #exclusion #anti-SDF #sans-abrisme #SDF #sans-abri #cartographie #frontières #visualisation #USA #Etats-Unis #barrières_urbaines #in/visibilité #murs_urbains #invisibilité #ressources_pédagogiques #murs_intra-urbains #villes #géographie_urbaine #urbanisme
    ping @reka

  • An Atlas of Radical Cartography

    This Atlas is an atlas and not the atlas. Rather, it is one of many possible atlases, given the abundance of artists, architects, and others using maps and mapping in their work. While all maps have an inherent politics that often lies hidden beneath an “objective” surface, the contributions to An Atlas of Radical Cartography wear their politics on their sleeve. This publication includes ten pairs of politically engaged maps and texts from within the growing movement of cultural producers who have parallel or integrated activist practices.

    The 10 MAPS:
    1) Chetla Lock Gate, Marginal Land Settlement in Calcutta, 1984
    2) Routes of Least Surveillance
    3) Rendition Flights 2001-2006
    4) Geography of the Fürth Departure Center
    5) Guias de Ruta / Route Guides
    6) From South to North
    7) the los angeles water cycle: the way it is, not the way it should be and one day will be
    8) New York City Garbage Machine
    9) The US Oil Fix
    10) A World Map: in which we see...

    Image Los Angeles Water cycle by Jane Tsong

    http://www.an-atlas.com/contents.html

    #Cartographie_radicale #visibilisation #counter_geography #faire_monde

    • EDUCATION THAT LEADS TO LEGISLATION

      ‘Segregated By Design’ examines the forgotten history of how our federal, state and local governments unconstitutionally segregated every major metropolitan area in America through law and policy.

      Prejudice can be birthed from a lack of understanding the historically accurate details of the past. Without being aware of the unconstitutional residential policies the United States government enacted during the middle of the twentieth century, one might have a negative view today of neighborhoods where African Americans live or even of African Americans themselves.

      We can compensate for this unlawful segregation through a national political consensus that leads to legislation. And this will only happen if the majority of Americans understand how we got here. Like Jay-Z said in a recent New York Times interview, “you can’t have a solution until you start dealing with the problem: What you reveal, you heal.” This is the major challenge at hand: to educate fellow citizens of the unconstitutional inequality that we’ve woven and, on behalf of our government, accept responsibility to fix it.

      https://www.segregatedbydesign.com

    • The Color of Law

      This “powerful and disturbing history” exposes how American governments deliberately imposed racial segregation on metropolitan areas nationwide (New York Times Book Review).

      Widely heralded as a “masterful” (Washington Post) and “essential” (Slate) history of the modern American metropolis, Richard Rothstein’s The Color of Law offers “the most forceful argument ever published on how federal, state, and local governments gave rise to and reinforced neighborhood segregation” (William Julius Wilson). Exploding the myth of de facto segregation arising from private prejudice or the unintended consequences of economic forces, Rothstein describes how the American government systematically imposed residential segregation: with undisguised racial zoning; public housing that purposefully segregated previously mixed communities; subsidies for builders to create whites-only suburbs; tax exemptions for institutions that enforced segregation; and support for violent resistance to African Americans in white neighborhoods. A groundbreaking, “virtually indispensable” study that has already transformed our understanding of twentieth-century urban history (Chicago Daily Observer), The Color of Law forces us to face the obligation to remedy our unconstitutional past.


      https://books.wwnorton.com/books/detail.aspx?id=4294995609&LangType=1033
      #livre

  • La #grève des #enseignants de #Los_Angeles pourrait faire boule de neige | JOCELYNE ZABLIT | États-Unis
    https://www.lapresse.ca/international/etats-unis/201901/14/01-5211014-la-greve-des-enseignants-de-los-angeles-pourrait-faire-boule-de-

    « Nous voici en ce jour pluvieux, dans l’un des pays les plus #riches du monde, dans l’un des États les plus riches du pays, un État aussi bleu (couleur du parti démocrate) que possible - et dans une ville qui regorge de millionnaires  ! - avec des enseignants obligés de faire la grève pour obtenir le minimum pour nos élèves », s’est exclamé Alex Caputo-Pearl, président du syndicat des enseignants de Los Angeles (UTLA), lors d’une conférence de presse.

    « Nous défendons l’essence même de l’#éducation_publique. La question est la suivante : est-ce que nous affamons nos écoles publiques de proximité pour aboutir à leur #privatisation  ? Ou bien est-ce que nous investissons dans ces écoles, pour nos élèves et pour une ville en plein développement  ? », a-t-il ajouté.

    #éloquence #etats-unis

    • The Rapid Victory of the West Virginia Teacher Strike Shows What Happens When Progressives Join the Fight Against School Privatization | naked capitalism
      https://www.nakedcapitalism.com/2019/03/rapid-victory-west-virginia-teacher-strike-shows-happens-progressiv

      He concedes, however, there are still unresolved issues in how progressives will coalesce on charters elsewhere. His progressive colleagues in states with lots of charters still feel an urge to not totally reject charters because parents whose children attend the schools are often from marginalized communities. And teachers who work in charters are potential targets for labor unions who want to organize the workers.

      But he finds in places such as West Virginia, and neighboring Virginia and Kentucky, where there are very few or no charters, opposition to the schools is about saving public education. Opponents are quick to point to high-profile charter school scandals in Ohioand Pennsylvaniaas examples of what would befall their states. “It’s been 20 years of experimenting,” he says, “and experiments often fail.”

      Frankenberry’s hope is that the solidarity shown by progressive opposition to school privatization in West Virginia can rub off on his colleagues in states where charters are more abundant. “We’re showing that we’re not going to accept these schools,” he says. “Maybe the progressive organizers in places where they already have them can get inspiration from us to rein charters in.”

      Zuckett foresees opposition to charter schools and voucher programs continuing to be more of a point of contention that progressives will push in their policy positions, and not just in West Virginia. “The fight is on,” he says. “Shame on us if it isn’t.”

  • #Typhus reaches ’epidemic levels’ in parts of #Los_Angeles area
    https://www.nbcnews.com/news/us-news/typhus-reaches-epidemic-levels-parts-los-angeles-area-n917271

    “Infection happens when the feces from infected fleas are rubbed into cuts or scrapes in the skin or rubbed into the eyes,” the county health department states on its website.

    Some experts, however, say the true culprit is the inhumane conditions the county’s expanding homeless population lives in.

    Typhus — Wikipédia
    https://fr.wikipedia.org/wiki/Typhus

    [L]es mesures d’hygiène associées à l’utilisation d’insecticides, puis à l’antibiothérapie ont fait disparaître et même oublier l’importance et la gravité qu’avait le typhus avant les années 1950.

    #Etats-Unis #santé

  • Fenced out: Los Angeles businesses find new way to keep away homeless | Society | The Guardian

    https://www.theguardian.com/society/2018/aug/24/where-the-sidewalk-ends-businesses-keep-out-homeless-with-fences

    he day the fence arrived, Gabe was sitting next to his tent, right at the heart of Los Angeles’ Skid Row. It was a chain link fence – about six feet tall – placed at the edge of the sidewalk, where it neatly enclosed Gabe, his neighbors, and the tented homes they have made for themselves on the streets of what is sometimes called the homeless capital of the country.

    “They put the whole sidewalk inside the fence,” said Gabe, an older black man with kind eyes and a disarming demeanor who has lived on the streets of Skid Row for about five years. He was scaling a fish over a red plastic cooler as he talked. “I felt like we were in prison on the sidewalk. It felt like we were in prison and could get out, but still in prison, you know what I mean?”

    #mur #barrière #los_angeles #pauvreté #sdf #discrimination #séparation

    • J’y étais en avril... Il y avait là un quartier de... 12 îlots (?) dont les trottoirs étaient intégralement occupés par des tentes réelles ou de fortune. Traversée en voiture avec un proche qui nous montrait « la ville » comme elle est. Un kilomètre plus loin, le site des sports : stade de basket qui se transforme en stade de hockey sur glace en 8 heures. Frissons. Sous 23°C en avril.

  • #Google_Maps Says ‘the East Cut’ Is a Real Place. Locals Aren’t So Sure.

    For decades, the district south of downtown and alongside #San_Francisco Bay here was known as either #Rincon_Hill, #South_Beach or #South_of_Market. This spring, it was suddenly rebranded on Google Maps to a name few had heard: the #East_Cut.

    The peculiar moniker immediately spread digitally, from hotel sites to dating apps to Uber, which all use Google’s map data. The name soon spilled over into the physical world, too. Real-estate listings beckoned prospective tenants to the East Cut. And news organizations referred to the vicinity by that term.

    “It’s degrading to the reputation of our area,” said Tad Bogdan, who has lived in the neighborhood for 14 years. In a survey of 271 neighbors that he organized recently, he said, 90 percent disliked the name.

    The swift rebranding of the roughly 170-year-old district is just one example of how Google Maps has now become the primary arbiter of place names. With decisions made by a few Google cartographers, the identity of a city, town or neighborhood can be reshaped, illustrating the outsize influence that Silicon Valley increasingly has in the real world.

    The #Detroit neighborhood now regularly called #Fishkorn (pronounced FISH-korn), but previously known as #Fiskhorn (pronounced FISK-horn)? That was because of Google Maps. #Midtown_South_Central in #Manhattan? That was also given life by Google Maps.

    Yet how Google arrives at its names in maps is often mysterious. The company declined to detail how some place names came about, though some appear to have resulted from mistakes by researchers, rebrandings by real estate agents — or just outright fiction.

    In #Los_Angeles, Jeffrey Schneider, a longtime architect in the #Silver_Lake_area, said he recently began calling the hill he lived on #Silver_Lake_Heights in ads for his rental apartment downstairs, partly as a joke. Last year, Silver Lake Heights also appeared on Google Maps.

    “Now for every real-estate listing in this neighborhood, they refer to it,” he said. “You see a name like that on a map and you believe it.”

    Before the internet era, neighborhood names developed via word of mouth, newspaper articles and physical maps that were released periodically. But Google Maps, which debuted in 2005, is updated continuously and delivered to more than one billion people on their devices. Google also feeds map data to thousands of websites and apps, magnifying its influence.

    In May, more than 63 percent of people who accessed a map on a smartphone or tablet used Google Maps, versus 19.4 percent for the Chinese internet giant Alibaba’s maps and 5.5 percent for Apple Maps, according to comScore, which tracks web traffic.

    Google said it created its maps from third-party data, public sources, satellites and, often most important, users. People can submit changes, which are reviewed by Google employees. A Google spokeswoman declined further comment.

    Yet some submissions are ruled upon by people with little local knowledge of a place, such as contractors in India, said one former Google Maps employee, who declined to be named because he was not authorized to speak publicly. Other users with a history of accurate changes said their updates to maps take effect instantly.

    Many of Google’s decisions have far-reaching consequences, with the maps driving increased traffic to quiet neighborhoods and once almost provoking an international incident in 2010 after it misrepresented the boundary between Costa Rica and Nicaragua.

    The service has also disseminated place names that are just plain puzzling. In #New_York, #Vinegar_Hill_Heights, #Midtown_South_Central (now #NoMad), #BoCoCa (for the area between Boerum Hill, Cobble Hill and Carroll Gardens), and #Rambo (Right Around the Manhattan Bridge Overpass) have appeared on and off in Google Maps.

    Matthew Hyland, co-owner of New York’s Emily and Emmy Squared pizzerias, who polices Google Maps in his spare time, said he considered those all made-up names, some of which he deleted from the map. Other obscure neighborhood names gain traction because of Google’s endorsement, he said. Someone once told him they lived in Stuyvesant Heights, “and then I looked at Google Maps and it was there. And I was like, ‘What? No. Come on,’” he said.

    In Detroit, some residents have been baffled by Google’s map of their city, which is blanketed with neighborhood monikers like NW Goldberg, Fishkorn and the Eye. Those names have been on Google Maps since at least 2012.

    Timothy Boscarino, a Detroit city planner, traced Google’s use of those names to a map posted online around 2002 by a few locals. Google almost identically copied that map’s neighborhoods and boundaries, he said — down to its typos. One result was that Google transposed the k and h for the district known as Fiskhorn, making it Fishkorn.

    A former Detroit city planner, Arthur Mullen, said he created the 2002 map as a side project and was surprised his typos were now distributed widely. He said he used old books and his local knowledge to make the map, approximating boundaries at times and inserting names with tenuous connections to neighborhoods, hoping to draw feedback.

    “I shouldn’t be making a mistake and 20 years later people are having to live with it,” Mr. Mullen said.

    He admitted some of his names were questionable, such as the Eye, a 60-block patch next to a cemetery on Detroit’s outskirts. He said he thought he spotted the name in a document, but was unsure which one. “Do I have my research materials from doing this 18 years ago? No,” he said.

    Now, local real-estate listings, food-delivery sites and locksmith ads use Fishkorn and the Eye. Erik Belcarz, an optometrist from nearby Novi, Mich., named his new publishing start-up Fishkorn this year after seeing the name on Google Maps.

    “It rolls off the tongue,” he said.

    Detroit officials recently canvassed the community to make an official map of neighborhoods. That exercise fixed some errors, like Fiskhorn (though Fishkorn remains on Google Maps). But for many districts where residents were unsure of the history, authorities relied largely on Google. The Eye and others are now part of that official map.

    In San Francisco, the East Cut name originated from a neighborhood nonprofit group that residents voted to create in 2015 to clean and secure the area. The nonprofit paid $68,000 to a “brand experience design company” to rebrand the district.

    Andrew Robinson, executive director of the nonprofit, now called the East Cut Community Benefit District (and previously the Greater Rincon Hill Community Benefit District), said the group’s board rejected names like Grand Narrows and Central Hub. Instead they chose the East Cut, partly because it referenced an 1869 construction project to cut through nearby Rincon Hill. The nonprofit then paid for streetlight banners and outfitted street cleaners with East Cut apparel.

    But it wasn’t until Google Maps adopted the name this spring that it got attention — and mockery.

    “The East Cut sounds like a 17 dollar sandwich,” Menotti Minutillo, an Uber engineer who works on the neighborhood’s border, said on Twitter in May.

    Mr. Robinson said his team asked Google to add the East Cut to its maps. A Google spokeswoman said employees manually inserted the name after verifying it through public sources. The company’s San Francisco offices are in the neighborhood (as is The New York Times bureau), and one of the East Cut nonprofit’s board members is a Google employee.

    Google Maps has also validated other little-known San Francisco neighborhoods. Balboa Hollow, a roughly 50-block district north of Golden Gate Park, trumpets on its website that it is a distinct neighborhood. Its proof? Google Maps.

    “Don’t believe us?” its website asks. “Well, we’re on the internet; so we must be real.”

    https://www.nytimes.com/2018/08/02/technology/google-maps-neighborhood-names.html
    #toponymie

  • Blog | Los Angeles Streetcar, Inc.
    http://streetcar.la/blog
    Un bel avenir pour le tramway de L.A. ... en 2017 ...

    Celebrating Streetcar Progress in 2016, Looking Ahead to 2017

    It’s been an extraordinary year for LA Streetcar, with progress across the board. We wanted to take a moment to reflect on that progress and thank you all for your support.

    Home | Los Angeles Streetcar, Inc.
    http://streetcar.la

    INTRODUCING: THE LOS ANGELES STREETCAR!
    For the past 15 years, downtown LA has led the way in helping Angelenos to reimagine their built environment. Together, we’re building a city that is more connected, active, fun, and sustainable than ever before, and the Los Angeles Streetcar is the next step along that path. Downtown LA is the cultural and economic hub of our region, and we think that once you get here it shouldn’t be quite so tough to get from one place to the next.

     

    When the LA Streetcar arrives, you can ditch your car and rely on a quick, comfortable ride to wherever you’re headed. Whether it’s Grand Park or Grand Central Market, Ace Hotel or the JW Marriott, one of Broadway’s beautiful historic theaters, or one of countless restaurants, entertainment venues, hotels, offices, modern homes, and historic lofts—we’ll have you covered. No more hunting for parking. Safer, cleaner streets. And most of all, better access to all that downtown has to offer. That’s the future we envision; join us for the ride, won’t you?

    #USA #Los_Angeles #tramway

  • Skid Row Downtown Los Angeles Christmas Day 2017
    https://www.youtube.com/watch?v=e8fsfwo6R-Y


    Une balade dans les rues de L.A. avec des entretiens peu communs

    Downtown Los Angeles - by car
    https://www.youtube.com/watch?v=E7HozzSGakA


    Une visite du même quartier qui montre davantage de rues avec leurs SDF.

    California Homeless Problem - by bike
    https://www.youtube.com/watch?v=zvCGtxeknSg

    Why is liberal California the poverty capital of America ? - LA Times
    http://www.latimes.com/opinion/op-ed/la-oe-jackson-california-poverty-20180114-story.html
    http://www.trbimg.com/img-5a5d2722/turbine/la-oe-jackson-california-poverty-20180114

    Hillary Clinton in Estonia - Trumpland (2016) Michael Moore
    https://www.youtube.com/watch?v=7TjReC37TWI


    Enfin un discours de Michael Moore qui explique comment 20 millions d’américains sont morts des conséquences de la politique de santé dans son pays.

    #USA #pauvreté #santé #SDF #Californie #Los_Angeles