LA on Fire

Hieronymus Bosch, The Harrowing of Hell

Early this morning a neighbor texted a photo of a charred page from a screenplay that landed on his roof over the night. That page likely drifted from the Eaton fire twelve miles northeast of us.

Other than horrible air quality we’re safe but I made the mistake of checking the news on the cesspool known as X, hoping to check on some friends in Altadena. Instead of helpful information, I found right wing misdirection and conspiracy theories, blaming the fires on political enemies, water policies and diversity programs. I feel the need to counter a few of these narratives with a few reminders:

  1. A single agricultural oligarch family, The Resnicks, consume more water than the entire city of Los Angeles. As I’ve written about before, the Resnicks launder their reputation by giving big gifts to CalTech, The LA County Museum of Art and political contributions to governor Gavin Newsom and many other politicians.
  2. No one, myself included, wants to read about, ponder or confront any news about climate change. It’s overwhelming and dis-empowering. I don’t have an easy hot take here but when you have an apocalyptic fire in December you have to, at least, take climate change seriously.
  3. Every time there’s an attempt to do an even modest increase in taxes to pay for infrastructure and public safety improvements, an unholy alliance of real estate interests, Wall Street, the California Apartment Owners Association and more spend millions on disinformation campaigns. What little money is spent ends up wasted on graft and corruption via engineering and construction firms controlled by these very same interests.

I have friends who had to evacuate from Pasadena last night who live in a house very far from any wilderness area on a street I never imagined would ever be threatened by a wildfire. I hope that their home and many others will be spared and, when this is over, that we can all join together to work on making our city more resilient. Most of that effort, I’m afraid, will come down to the dirty and un-fun work of grass roots politics.

Goodbye 2024

When I asked a friend what he was going to do for New Year’s Eve he told me that he was going to go to bed like he always does. Then he informed me that Kelly and I once hosted a small New Years gathering where we all sat around and listened to Art Bell’s predictions show where random, unscreened callers would prognosticate about, mostly, doom and gloom stuff. I have no memory of this gathering but put a bootleg podcast of Art on this evening to drown out the fireworks and keep the animals calm.

I worked all day in the woodshop making frames for a friend’s gallery show so I too will be heading to bed early. No Club Los Globos for us tonight.

Best wishes to all for a happy 2025.

Two Christmas Cards: Gloating and Cats

Even though it seems like Christmas cards are less of a thing (we get fewer every year) Kelly and I wanted to send some out. We weren’t happy with the commercial options so I went looking on the interwebs for some high resolution antique cards and found a nice selection in the digital collections of the New York Public library.

I downloaded two of these cards, adjusted them with Affinity Photo, and sent them to my local print shop, E.R. Copies on Sunset. They printed them up on matte paper for a very reasonable price and I really liked the results.

Coincidentally, the LA Times has a story today on the particular genre of one of the cards I picked, “Christmas greetings, with a touch of gloating, from sunny Southern California“. These early 20th century cards were a way of promoting the place at a time when real estate interests were trying to get people to move here from the rest of the country. From the article,

One, at least, from Pasadena to Pittsburgh, didn’t bother to be coy or even polite, and I have to admire it for that. It showed a “California Christmas” image of palms and poppies, and “Eastern Christmas” of snowbound pines and dead-branched deciduous.

“Dear little postcard, swiftly go / Back to the land of ice and snow / And bear this Christmas message please / To those dear friends of mine who freeze / Our California’s fine — just listen: / You simply don’t know what you’re missin’!”

The other genre of card I sent out falls into the category of what I’d call demented Victorian cat.

Best wishes for a happy and peaceful 2025.

Masters of Carpentry at Japan House

A traveling exhibit from the Takenaka Carpentry Tools Museum landed at Japan House this month and it’s both a fascinating look at the intricacies of Japanese joinery as well as a beautiful example of how to do good exhibit design.

From the catalog,

The exhibition is structured around the 5 pillars of daiku culture: a reverence for nature and the Japanese forest, the master carpenters’ refined tools, the practice of domiya daiku – the temple and shrine carpenters, kigumi – the strength and beauty of Japanese joinery, and the work of the sukiya daiku – the skillful carpenters employing natural materials to detail and finish teahouses.

We attended a talk by the curator, Marcelo Nishiyama who bemoaned the sorry state of most contemporary building practices in Japan and the lack of respect for the craft of carpentry. As I’ve learned from my furniture making hobby, carpentry requires a combination of physical stamina, a sense of design and a hand/eye finesse similar to playing a musical instrument. Nishiyama noted that we consider the trades as lesser than going to college and this attitude needs to change. In particular, the complex joinery involved in Japanese temple architecture demonstrates a high level of skill and experience.

The films Nishiyama played during his talk, which are screening at the Japan House mindfulness lounge on weekdays throughout the run of the exhibit show the extremes of carpentry: kumiko masters cutting thousands of tiny slivers of wood to temple builders hefting giant logs and connecting complex joints designed to withstand Japan’s frequent earthquakes.

The exhibit runs in Los Angeles until January 22nd and then it will travel to London and São Paulo. I’m going to go see it again.