| A Page 1 map by our Nuestro Pueblo artist, Charles Owens. |
| May 22, 1940: “B. Taylor gave B. Stanwyck furs instead of his usual diamonds on their anniversary,” Jimmie Fidler says. |
| The Times publishes another drawing by Charles Owens, showing what the fight for Dombas, Norway, might have looked like. |
| May 1, 1940: “Hollywood After Dark: Amazonian Geraldine Ross, Florentine Gardens star, singing torch songs to mite-y George E. Stone, adoring her nightly from a floor-side table,” Jimmie Fidler says. |
 Nuestro Pueblo artist Charles Owens draws a full-page map on the war in Norway. |
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April 26, 1940: On the set of "Boomtown," Clark Gable, Spencer Tracy and Frank Morgan "filmed a drinking scene this morning with each demanding his own pet liquor substitute. Clark insists on apple cider; Spencer, Coca-Cola; Frank, cold tea,” Jimmie Fidler says. |
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| Oct. 14, 1938: Joe Seewerker and Charles Owens visit the La Brea tar pits for another installment of Nuestro Pueblo. In case you just tuned in, the posts of the original 1938-39 run ended last year. I’m going back and picking up the ones I missed the first time around. |
| “Outside the Edison,” by Marion Eisenmann. |
| I thought it would be fun to write about the crowds that have revived downtown nightlife in the last few years, so late one Friday, Marion Eisenmann and I strolled up 2nd Street from The Times and studied the people waiting to get into the Edison. It’s an ultra-hip club with an entrance in the alley and lots of arty-industrial metal stairs going down to what used to be the boiler room in the basement of the Higgins Building. There’s usually a long line on the sidewalk on Friday nights and sometimes a stretch limo is parked nearby. The flashy young crowd lined up for half a block and the packs of bicyclists that take over the streets are quite a contrast to the many nights when I left The Times Building to find that I had downtown to myself. Marion says: "It was easy to determine the color mode for this illustration. It was night, and the people lining up for the club were dressed in black or black and white." Note: In case you just tuned in, Marion and I are roaming Los Angeles in a project inspired by Joe Seewerker and Charles Owens’ Nuestro Pueblo. |
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“L.A. Marathon,” by Marion Eisenmann |
| Marion Eisenmann and I decided to try something different from our exploration of local landmarks by going to Santa Monica to see the finish of the 2010 L.A. Marathon. I found a good viewing spot at the base of a light pole on Ocean Avenue just beyond the finish line, while Marion looked for interesting images to combine in a collage of the race. The shouts from the crowd, growing louder and closer, announced the arrival of each contestant. The first were the wheelchair competitors on their exotic vehicles, and next were the bicyclists. As the seconds ticked away, the area behind the finish line filled with photographers, security officers, police and marathon workers, all of them anticipating the runners. Edna Kiplagat was mobbed by photographers after she finished. Then Teyba Naser and Silvia Skvortsova came in. The shouting for Wesley Korir started a long way off and built until he crossed the finish line. Photographers and TV cameramen swarmed around him so that all I saw was his hand, reaching above them and pointing, not as a victory sign showing that he was first but as a symbol of his Christian faith. I always think of hard-core runners as lean, hard and leathery; raw and wrinkled from the sun with veins bulging like strands of rope under their skin. These elite African runners are nothing like that. Korir is a slight fellow, rather small and finely proportioned. I wouldn’t call him delicate, but you would never mistake him for someone who spends hours at the gym. In the same way, the top two women, Kiplagat and Naser, were small and slight, and if you were to see Naser in a swimsuit at the beach, you might mistake her for a college student who goes running a few times a week. Only Skvortsova, with thick, muscled legs, looks more like my traditional idea of a runner. After congratulating each other and giving a few TV interviews, Korir and Kiplagat were chauffeured away in motorized carts, along with Mayor Antonio Villaraigosa. Although Marion originally thought of combining different visual elements like the Santa Monica Pier, sketches of the crowd and the runners, she settled on Korir crossing the finish line. Note: In case you just tuned in, Marion and I are roaming Los Angeles in a project inspired by Joe Seewerker and Charles Owens’ Nuestro Pueblo. Anyone who’s interested in Marion’s artwork should contact her directly. |
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| Nov. 9, 1938: Joe Seewerker and Charles Owens visit a blacksmith shop at 6104 N. Figueroa St. I’ve been forced to stop embedding Google maps because they make the pages load slowly. The original run of Nuestro Pueblo concluded last year. I’m picking up the items I missed the first time around. |
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| Oct. 7, 1938: Joe Seewerker and Charles Owens visit 942 Yale St. (Google maps’ street view shows the lion is long gone). The original run of “Nuestro Pueblo” concluded last year. I’m going back and picking up the ones I missed the first time. |
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| Oct. 3, 1938: Joe Seewerker and Charles Owens visit 5121 Franklin Ave. or what we know today as the home of Dr. George Hodel. The original run of Nuestro Pueblo ended in 1939. I’m going back and picking up the ones I missed in 2008-09. |
| View Larger Map |
| Sept. 30, 1938: Joe Seewerker and Charles Owens visit the Adobe Flores at 1814 [1804] Foothill St., South Pasadena. The original run of Nuestro Pueblo ended in 1939. I’m going back and picking up the ones I missed in 2008-09. |
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| Sept. 28, 1938: Charles Owens re-creates a scene he discovered in the Arroyo Seco when he arrived in Los Angeles in 1908 – an outdoor kitchen. The original run of Nuestro Pueblo ended in 1939. I’m going back and picking up the ones I missed in 2008-09. |
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