Aja Brown
American politician
Aja Lena Brown (née Clinkscale; born April 17, 1982) is an American politician who was the mayor of Compton, California from 2013 to 2021. She won the election by defeating both incumbent mayor Eric J. Perrodin and former mayor Omar Bradley.
Early life.
Brown was born Aja Lena Clinkscale in Altadena, California, to a single mother, Brenda Jackson, who worked at the Jet Propulsion Laboratory at Caltech. Her parents divorced when she was young. She has a fraternal twin brother, Jonathan Clinkscale, who played football at the University of Wisconsin–Madison. Brown's mother grew up in East Compton.
In 2000, Brown graduated from John Muir High School in Pasadena, CA.
In 2004, Brown graduated from University of Southern California, where she received a full academic scholarship, with a bachelor's degree in policy, planning & development that included public policy, urban planning and development. In 2005, she earned a Master of Urban Planning, which included urban planning with a concentration in economic development. The subject of her master's thesis was an analysis of the 2004 failed development of a Walmart supercenter in Inglewood.
Career.
In 2004, while attending USC, Brown began working for the City of Gardena, California as an Economic Development Analyst.
In 2006, Brown began working for the City of Inglewood, California as an Urban Planner. In 2007, she served a term as a Planning Commissioner for the City of Pasadena, then resigned in 2009 to join Compton's Redevelopment Agency as a Redevelopment Project Manager, focusing her efforts on revitalizing the emergent City of Compton. She was responsible for creating community benefits legislation, initiating community-led downtown revitalization action committees, overseeing the Agency's urban planning and economic development initiatives. Brown also created and implemented Compton's Apprentice Program designed to create jobs for local residents on city-funded or assisted capital improvement projects.
In 2011, Brown co-founded the Urban Vision Community Development Corporation, a non-profit organization in Compton dedicated to community economic and youth development. Brown has also developed several re-branding programs that have achieved success in various cities, and she was awarded the "Best 2012 Communicator Design Award" for her "Yes!" campaign for the City of Compton. She has been instrumental in marketing Compton's buyer's program for first-time home buyers, as well as programs to attract expertise in land use and transportation.
2013–2021: Compton mayor.
2012 mayoral election.
Having worked as a city employee for Compton, Brown decided in October 2012 to introduce what she called her "New Vision for Compton". A newcomer to politics, she defeated 12 candidates, including former mayor Omar Bradley and the incumbent mayor Eric J. Perrodin, to become the youngest mayor of Compton at age 31 and the 8th consecutive African-American elected as mayor.
12-point strategy plan.
Mayor Brown has launched a "12-point plan" designed to strategically advance the city of Compton. During Brown's tenure as a city employee, she recognized that the essential components needed to foster a healthy, thriving city were either outdated or non-existent. Addressing existing problems on multiple fronts, including youth development, infrastructure, working with educational coalitions and economic development, she says she has made her "12-Point Plan" accessible for the residents to follow along with the progress of the city.
Decrease in violence and crime.
In 2014, Brown began reaching out to Compton Bloods and Crips gang leaders through former members to negotiate peace. She uses conflict mitigation instead of heavy policing. Since the gangs started regular meetings, violent activity and crime was reduced by about 65 percent compared to the all-time high some 25 years ago.
Congressional run.
In 2018, she announced a run for the United States House of Representatives in California's 44th congressional district, against incumbent Nanette Barragán. Brown ended her campaign due to her pregnancy with her first child.
Compton Pledge guaranteed income.
In 2021, the city began distributing monthly universal basic income payments to a “pre-verified” pool of low-income residents, in a two-year donor-funded program initiated by Brown, gauged for a maximum of 800 recipients, at which point it will be one of the larger among 25 U.S. cities exploring this approach to community economics.
Personal life.
Brown is married to Van Brown, a Petrochemical Safety Manager, whom she met and began dating in high school. Van Brown is a former University of Southern California football player. Brown and her husband moved to Compton in 2009. She and her husband are members of Faith Inspirational Missionary Baptist Church, where they work in community outreach programs. She gave birth to her first daughter in 2018.
In 1973, nine years before Brown's birth, her maternal grandmother, Lena Young, a nurse, was raped and murdered in a home invasion in Compton that remains unsolved.
Brown's first name comes from the Steely Dan song, "Aja", the title track of the 1977 record, "Aja," because it was a favorite of Brown's mother.
References.
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Compton, California
City in California, United States
Compton is a city located in the Gateway Cities region of southern Los Angeles County, California, United States, situated south of downtown Los Angeles. Compton is one of the oldest cities in the county, and on May 11, 1888, was the eighth city in Los Angeles County to incorporate. As of the 2020 census, the city had a total population of 95,740. It is known as the "Hub City" due to its alleged geographic centrality in Los Angeles County, though it is actually near the southern end of the county. Neighborhoods in Compton include Sunny Cove, Leland, downtown Compton, and Richland Farms.
History.
The Tongva inhabited the Los Angeles Basin.
The Spanish Empire had expanded into this area when the Viceroy of New Spain commissioned Juan Rodríguez Cabrillo to explore the Pacific Ocean in 1542–1543. In 1767, the area became part of the Province of the Californias (), and the area was explored by the Portolá expedition in 1769–1770. In 1784, the Spanish Crown deeded Rancho San Pedro, a tract of over , to soldier Juan José Domínguez. Domínguez's descendants partitioned the land amongst family members, sold parcels to newly arriving settlers, and relinquished some when validating their legal claim with the Mexican government at in 1828, and with the United States government through a patent validating in 1858. The Domínguez family name is still applied throughout the area, including the Dominguez Rancho Adobe historical landmark, in the unincorporated community of Rancho Dominguez, located between the cities of Compton, Long Beach and Carson. The tree that marked the original northern boundary of the rancho still stands at the corner of Poppy and Short streets.
In 1867, Griffith Dickenson Compton led a group of 30 pioneers to the area. These families had traveled by wagon train south from Stockton, California, in search of ways to earn a living other than the rapid exhaustion of gold fields. Originally named Gibsonville, after one of the tract owners, it was later called Comptonville. However, to avoid confusion with the Camptonville located in Yuba County, the name was shortened to Compton. Compton's earliest settlers were faced with terrible hardships as they farmed the land in bleak weather to get by with just the barest subsistence. The weather continued to be harsh, rainy and cold, and fuel was difficult to find. To gather firewood it was necessary to travel to mountains close to Pasadena. The round trip took almost a week. Many in the Compton party wanted to relocate to a friendlier climate and settle down, but as there were two general stores within traveling distance—one in the pueblo of Los Angeles, the other in Wilmington—they eventually decided to stay put.
By 1887, the settlers realized it was time to make improvements to the local government. A series of town meetings were held to discuss incorporation of their little town. Griffith D. Compton donated his land to incorporate and create the city of Compton in 1889, but he did stipulate that a certain acreage be zoned solely for agriculture and named Richland Farms. In January 1888, a petition supporting the incorporation of Compton was forwarded to the Los Angeles County Board of Supervisors, who in turn forwarded the petition to the State Legislature. On May 11, 1888, the city of Compton was incorporated with a population of 5000 people. The first City Council meeting was held on May 14, 1888.
In 1890, a series of votes were held by the residents of Compton, with the aim of shedding significant portions of the city. By the end of the year, Compton was down to only eighty acres of land, with five remaining voters residing within that territory. Due to the limited number of people able to fill positions within the city government, Compton effectively ceased to exist as a functioning city. By 1906, lawyers Emmett Wilson and E.T. Sherer filed suits to nullify the 1890 elections, which in turn restored Compton to a size of 600 acres. Compton was reborn, with elections held to fill open positions.
The ample residential lots of Richland Farms gave residents enough space to raise a family, and food to feed them, along with building a barn, and caring for livestock. The farms attracted the black families who had begun migrating from the rural South in the 1950s, and there they found their 'home away from home'. Compton could not support large-scale agricultural business, but it did give the residents the opportunity to work the land for their families.
The 1920s saw the opening of the Compton Airport. Compton Junior College was founded and city officials moved to a new City Hall on Alameda Street. On March 10, 1933, a destructive earthquake caused many casualties: schools were destroyed and there was major damage to the central business district. While it would eventually be home to a large black population, in 1930 there was only one black resident.
From the 1920s through the early 1940s, the Compton area was home to a sizable Japanese American population, a large proportion of whom were farmers. Shortly after President Roosevelt issued Executive Order 9066 in February 1942, Compton residents of Japanese descent were forcibly removed from their homes and interned for the duration of World War II. Most were initially detained at the Santa Anita Assembly Center; they were later transferred to and incarcerated at Manzanar and other internment centers, called "Relocation Centers."
In the 1950s, middle-class black families began moving into the area, mostly on the west side. Compton grew quickly throughout the decade. This is partially due to its proximity to Watts, where there was an established black population. The eastern side of the city was predominantly white until the 1970s. Despite being located in the middle of a major metropolitan area, thanks to the legacy of Griffith D. Compton, there still remains one small pocket of agriculture from its earliest years.
During the 1950s and 1960s, after the Supreme Court declared all racially exclusive housing covenants (title deeds) unconstitutional in the case "Shelley v. Kraemer", the first black families moved to the area. Compton's growing black population was still largely ignored and neglected by the city's elected officials. Centennial High School was finally built to accommodate a burgeoning student population. A black man first ran for City Council in 1958, and the first black councilman was elected in 1961.
In 1969, Douglas Dollarhide became the mayor, the first black man elected mayor of any metropolitan city in California. Two African Americans and one Mexican-American were also elected to the local school board. Four years later, in 1973, Doris A. Davis defeated Dollarhide's bid for re-election to become the first female black mayor of a metropolitan American city. By the early 1970s, the city had one of the largest concentrations of African Americans in the country, at over sixty five percent. In 2013, Aja Brown, age 31, became the city's youngest mayor to date; she was re-elected in 2017.
For many years, Compton was a much sought-after suburb for the black middle class of Los Angeles. This past affluence is reflected in the area's appearance: Compton's streets are lined with relatively spacious and attractive single family houses. However, several factors have contributed to Compton's gradual decline. One of the most significant factors was a steady erosion of its tax base, something that was already sparse due to limited commercial properties. In later years, there were middle-class whites who fled to the newly incorporated cities of Artesia, Bellflower, Cerritos, Paramount and Norwalk in the late 1950s. These nearby cities remained largely white early on, despite integration. This white middle class flight accelerated following the 1965 Watts Riots and the 1992 Los Angeles riots.
By the late 1960s, middle-class and upper-middle-class African Americans found other areas to be more attractive to them. Some were unincorporated areas of Los Angeles County such as Ladera Heights, View Park and Windsor Hills, and others were cities such as Inglewood and Carson. Carson was particularly significant, because it had successfully thwarted attempts at annexation by neighboring Compton. The city opted instead for incorporation in 1968; notably, its black population was actually more affluent than its white population. As a newer city, it also offered more favorable tax rates and lower crime.
Geography and climate.
According to the United States Census Bureau's 2020 data, the city has a total area of . of it is land and of it (1.03%) is water.
Compton is bordered by the unincorporated Willowbrook on the north and northwest, the unincorporated West Compton on the west, the city of Carson on the southwest, the unincorporated Rancho Dominguez on the south, the city of Long Beach on the southeast, the city of Paramount and the unincorporated East Compton on the east, and by the city of Lynwood on the northeast.
East Compton.
East Compton, also known as East Rancho Dominguez, is a mostly industrial unincorporated community and census-designated place (CDP). The population was 15,135 according to the 2010 Census. East Rancho Dominguez is an accepted city name according to the USPS, and shares the 90221 ZIP Code with Compton. Its sphere of influence is the city of Compton, which has tried to annex East Rancho Dominguez, but business and property owners in the area have opposed the annexation.
Demographics.
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Compton first appeared as a city in the 1870 U.S. Census.
2020 census.
The U.S. Census Bureau, Population Estimates Program (PEP), updated annually, reported that the City of Compton has a population of 91,988 as of its 2022 estimate. The following household information is based on 5-year census estimates between 2018 and 2022:
No Compton households reported speaking a non-English language at home as their primary shared language. This does not consider the potential multilingual nature of households, but only the primary self-reported language spoken by all members of the household. 83.1% of the residents of Compton are U.S. citizens.
2010.
The 2010 United States census reported that Compton had a population of 96,455. The population density was . The racial makeup of Compton was 31,688 (32.9%) Black; 24,942 (25.9%) White, (0.8% Non-Hispanic White); 655 (0.7%) Native American; 292 (0.3%) Asian; 718 (0.7%) Pacific Islander; 34,914 (36.2%) from other races; and 3,246 (3.4%) from two or more races. Hispanic or Latino of any race were 62,669 persons (65.0%).
The Census reported that 95,700 people (99.2% of the population) lived in households, 643 (0.7%) lived in non-institutionalized group quarters, and 112 (0.1%) were institutionalized.
There were 23,062 households, out of which 13,376 (58.0%) had children under the age of 18 living in them, 10,536 (45.7%) were opposite-sex married couples living together, 6,373 (27.6%) had a female householder with no husband present, 2,354 (10.2%) had a male householder with no wife present. There were 1,725 (7.5%) unmarried opposite-sex partnerships, and 158 (0.7%) same-sex married couples or partnerships. 2,979 households (12.9%) were made up of individuals, and 1,224 (5.3%) had someone living alone who was 65 years of age or older. The average household size was 4.15. There were 19,263 families (83.5% of all households); the average family size was 4.41.
The age distribution of the population was as follows: 31,945 people (33.1%) under the age of 18, 11,901 people (12.3%) aged 18 to 24, 26,573 people (27.5%) aged 25 to 44, 18,838 people (19.5%) aged 45 to 64, and 7,198 people (7.5%) who were 65 years of age or older. The median age was 28.0 years. For every 100 females, there were 94.8 males. For every 100 females age 18 and over, there were 90.7 males.
There were 24,523 housing units at an average density of , of which 12,726 (55.2%) were owner-occupied, and 10,336 (44.8%) were occupied by renters. The homeowner vacancy rate was 2.9%; the rental vacancy rate was 5.9%. 53,525 people (55.5% of the population) lived in owner-occupied housing units and 42,175 people (43.7%) lived in rental housing units.
During 2009–2013, Compton has a median household income of $42,953, with 26.3% of the population living below the federal poverty line.
Crime.
Following the Watts riots in 1965, crime in Compton rose sharply. Although the city was largely exempt from the destruction of the 1965 riot, it prompted middle-class residents to flee over the next few years. By 1969, it had the highest crime rate in the state of California.
In "Black, Brown, and White: Stories Straight Outta Compton", Lynne Isbell and two friends from other ethnic backgrounds have written about their lives growing up in Compton during the 1960s and early 1970s. They tell how Compton changed from a mostly white town to a mostly black one and became known as "the Murder Capital of the United States".
Compton's violent reputation reached the national spotlight in the late 1980s with the rise of local gangsta rap groups Compton's Most Wanted and N.W.A, the latter of whom released the album "Straight Outta Compton" in 1989. The city became notorious for gang violence, primarily caused by the Bloods and Crips. After years of decline in crime, Compton's murder rate skyrocketed in 2004 with racial conflicts between Blacks and Latinos.
2005 was the city's deadliest year on record when the city murder rate reached 72 killings with a total population of 90,000 residents. The spike was the highest since 1991, when the city had more than 100,000 residents. The rise in homicides frightened residents who had long lived with high levels of gang violence but had seen a downturn in violent crime in recent years.
In 2013, the homicide rate was 36.8 per 100,000 residents, a decrease from the mid-2000s peak. Guns are used in the vast majority of homicides in Compton. Between 2000 and 2016, 91.5% were killed with guns compared to the national average of 67.7%. In 2015, there was a record low of 15 homicides while the homicide rate in the rest of the US increased. In recent years, homicides have increased while remaining well below the 1980s and 90s, with 32 in 2021.
The neighborhood lost residents with the worsening safety problems and, after the 1992 riots in the Los Angeles metropolitan area, many African Americans left the city.
Although "U.S. News & World Report" did not list Compton in the 2011 "11 Most Dangerous Cities" for overall crime rates in the United States, the "CQ Press", using data from the FBI's annual report of crime statistics "Crime in the United States 2010," which ranked Compton as having the eighth highest crime rate in the country.
Compton experienced a drop in homicide in the late 1990s and 2000s. Crime has stabilized overall since the 2010s. The decrease in homicides has been attributed to various factors, including changing demographics, faster response times by police (reducing shots fired) and better medical care (increasing survival rates). Aja Brown, mayor elected in 2013, helped to settle turf wars between the gangs, which has further reduced the homicide rate.
Mexican and Central American immigrants have increasingly replaced African Americans who moved to safer cities.
"Gifts for Guns".
The Los Angeles Sheriff's Department began the annual "Gifts for Guns" program within that same year where the citizens of Compton were given the option to turn in firearms and receive a $50–$100 check for various goods in an effort to combat gun violence. People have turned in about 7,000 guns over the last few years, KABC-TV reported. The program's success has prompted the LASD to expand the program countywide.
Homelessness.
In 2022, Los Angeles Homeless Services Authority's Greater Los Angeles Homeless Count counted 644 homeless individuals in Compton.
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Mapping L.A..
Mexican was the most common ancestry according to the 2000 census. Mexico and El Salvador were the most common foreign places of birth in 2000.
Economy.
In 1994, Compton was designated as an "Entrepreneurial Hot Spot" by Cognetics, Inc., an independent economic research firm. Compton made the national list for best places to start and grow a business, and ranked #2 in Los Angeles County out of a field of 88 cities. The city's Planning and Economic Development department provides a business assistance program consisting of a comprehensive mix of resources to small business owners and entrepreneurs. The grocery chains Ralphs and Food 4 Less, subsidiaries of Kroger, are headquartered in Compton. Gelson's Market, a subsidiary of Arden Group, Inc., a holding company, is also based there.
Compton is surrounded by multiple freeways that provide access to destinations throughout the region. The Long Beach and Los Angeles Ports are less than 20 minutes from downtown Compton, providing access to international destinations for customers and suppliers. The Alameda Corridor, a passageway for 25% of all U.S. waterborne international trade, runs directly through Compton from north to south.
The City of Compton's Parks and Recreation Department operates and maintains a total of 16 playgrounds for a combined of active park space. Facilities include six community centers, seven neighborhood parks, two walking parks, two competition-size swimming pools, three regulation size gymnasiums, a skate park, Jackie Robinson Baseball Stadium, Nine-Hole Par 3 Golf Course, and the two-story Douglas F. Dollarhide Community Center.
Arts and culture.
Some episodes of the sitcom "The Fresh Prince of Bel-Air" took place in Compton because Will Smith's friend, DJ Jazzy Jeff, lived there. Many rap artists' careers started in Compton, including N.W.A (Eazy-E, MC Ren, Dr. Dre, Ice Cube, DJ Yella), Coolio, DJ Quik, 2nd II None, Hi-C, Tweedy Bird Loc, The Game, Kendrick Lamar, YG, Vince Staples, Roddy Ricch, and Compton's Most Wanted. In their lyrics, they rap about the streets and their lives in Compton and the areas nearby. Steve Lacy and Blues musician Keb' Mo' are also from Compton.
Compton has been referred to on numerous occasions in gang affiliation, gangsta rap and g-funk songs, especially in the late 1980s and throughout the 1990s, and so has attained an association not only with gang violence and crime, but with hip hop music as well. The city is known as the home of many famous rappers. The Compton Swap Meet is featured prominently in the remix version of the 1995 #1 song California Love.

Championed by the Compton Entertainment Chamber of Commerce, the city of Compton honored Musical Entertainer rapper Eazy-E, with a symbolic street in his stage name. On November 22, 2023, the 100 block of Auto Drive South, which runs off Alameda Street and into the Gateway Towne Center shopping plaza was renamed to Eazy Street. It is also a reference to a song of the same name.

Eazy-E grew into the music industry as part the N.W.A group that spawned hip hop icons, such as Easy-E, Ice Cube, Dr. Dre, Mc Ren, DJ Yella and many others. In 1989, N.W.A released the colossal hit song Straight Outta Compton, which is the incontestable communicable global catchphrase for the City of Compton. [Eric Lynn Wright, was born September 7, 1964, in Compton, and passed away March 26, 1995.]
Many NBA players attended high school in the city as well. Arron Afflalo attended Centennial High School; DeMar DeRozan attended Compton High School; and Tayshaun Prince, Tyson Chandler, Brandon Jennings, Cedric Ceballos and the late Dennis Johnson attended Dominguez High. Actor/comedian Paul Rodriguez Sr. also attended Dominguez High.
Although an inner suburb of Los Angeles, Compton has seen an increase of middle-class residents in the last few years, due to its affordable housing. With the influx of immigrants and the demographic shift in ethnic population, it was after the 2000 U.S. Census that Latinos were recognized as the majority.
Compton has evolved into a younger population; the median age of people living in Compton was 25 at the time of the census survey in 2010; the United States average at the time was 35.3.
Compton is home to the Compton Cricket Club, the only all American-born exhibition cricket team. Its founder, Ted Hayes, said, "The aim of playing cricket is to teach people how to respect themselves and respect authority so they stop killing each other." Tam's Burgers has been seen as a symbol of the city.
Historical landmarks.
Angeles Abbey Memorial Park contains examples of Byzantine, Moorish and Spanish architectural styles. The cemetery was built in 1923 and survived the 1933 Long Beach earthquake.
Compton Airport opened on May 10, 1924. Located on Alondra Boulevard, the airport offers flight training, has accommodations for more than 200 planes, and is home to several aviation clubs.
The Martin Luther King, Jr. Memorial sits in a plaza surrounded by the Civic Center, Compton Court House, Compton City Hall, and Compton Public Library.
The Eagle Tree is a natural boundary marker of Rancho San Pedro dating to 1858. It contains a historic marker and plaque placed by the Daughters of the Golden West in 1947.
The 'Heritage House' was built in 1869 and is a California Historical Landmark, and a Los Angeles County Historic Landmark. The oldest house in Compton, it was restored as a tribute to early settlers. It is an important landmark of Compton's rich history. At the corner of Myrrh and Willowbrook near the Civic Center Plaza, the Heritage House is a rustic-looking home that will eventually have a museum detailing early life in Compton. For now it shows the stark difference between the simple life of the 19th century and the fast-paced urban environment of the 21st. The oldest tree in Compton was the Eagle Tree, which marked the boundary of Rancho San Pedro. It fell in 2022.
Woodlawn Memorial Park contains the graves of 17 American Civil War veterans.
Government.
Municipal government.
After Lionel Cade, an accountant, assumed the mayor's office in 1977, one of the first orders of business was to conduct an audit of the city's finances. It was discovered that the city was $2 million in debt. The administration was able to eliminate the huge deficit in one year by making cuts in every department. It also aggressively sought federal funding to help pay for essential services, which was at least partially effective. However, with the passage of the property tax cutting initiative Proposition 13 by California voters, Compton was one of the cities hardest hit, since it had already eliminated most of the excess from its budget.
Corruption.
Civic corruption has also been a widespread problem in Compton.
In 2000, the Compton Police Department was disbanded amidst controversy and charges of corruption. The police department claims it was disbanded after investigations of gang activity led to then-Compton Mayor Omar Bradley. Once this became public, the mayor charged it was the police who were themselves corrupt, and he disbanded the police department. Omar Bradley has since faced serious corruption charges.
Eric J. Perrodin, the city's former mayor, was investigated in 2007 by the California State Bar for threatening to violate a local newspaper's First Amendment rights after the paper printed an investigative report relative to a contract granted to one of Perrodin's associates. Following the report, Perrodin threatened to yank the city's advertising contract with the paper. A Times review of city records shows Perrodin was absent from city board and commission meetings nearly two-thirds of the time between July 2009 and July 2010.
Current recall efforts are a direct response from residents of the accusations of corruption of the city's mayor and council. Some of the accusations involve the issuing of city contracts to personal donors and friends. One particular accusation involved the trash and recycling contract of the city to Pacific Coast Waste and Recycling LLC in 2007.
Notices of intent to circulate recall petitions against four Compton city officials are expected to be filed in August 2010, by a group of citizens who claim corruption in Compton is being ignored by the same authorities who were shocked by the recent salary controversy in the city of Bell.
Compton had discharged its city manager, in 2010, the second time in three years. "The Los Angeles Times" says the City Council voted in a closed meeting, September 9, 2010, to fire Charles Evans. "The Times" says council members refused to discuss the reasons for their decision. Evans took office in 2007, after the dismissal of previous City Manager Barbara Kilroy. City Controller Willie Norfleet will take over until a permanent manager can be named.
In July 2021, U.S. Representative Maxine Waters called for a Department of Justice inquiry into whether a deputy gang called the Executioners was operating out of the Compton station of the LASD.
State and federal representation.
In the state legislature, Compton is in the Senate District, represented by Democrat Laura Richardson, and in the Assembly District, represented by Democrat Mike Gipson.
In the U.S. House of Representatives, Compton is in California's congressional district, represented by Democrat Maxine Waters.
Education.
The city is served by Compton Unified School District. All of Compton is in CUSD, except for a small sliver of land in the Paramount Unified School District. The CUSD district is a participant of the FOCUS program conducted by the University of California, Irvine. The goals of the program are to improve mathematics and science achievement by uniting the efforts of mathematics, science, education and research library faculty and staff with educators of the school district.
The CUSD provides public education for grades K–12. The district operates 24 elementary schools, eight middle schools, three high schools, and one adult school, which also serves as an alternative school. The district maintains five alternative learning schools.
The four high schools of the CUSD are Centennial High School, Compton Early College High School, Dominguez High School, and Compton High School.
The city is also served by Compton College, which offers community college courses for those planning to enter a four-year degree program, as well as those seeking further education in specific trade fields.
The Compton Library offers adult, children's and Spanish language materials; reference services; a Literacy Center and a Homework Center; public computers with Internet access and word processing capabilities; public typewriters; and a bilingual story time every Saturday at 12:00 noon.
Occidental's Center for Food and Justice and its Compton Farm-to-School project were featured in a segment of "Life and Times", a half-hour news program on PBS member television station KCET in Los Angeles.
Barack Obama Charter School is a kindergarten through sixth grade public charter school.
Infrastructure.
The Los Angeles County Department of Health Services operates the South Health Center in Watts, Los Angeles, serving Compton.
The United States Postal Service operates the Compton Post Office at 701 South Santa Fe Avenue, the Hub City Post Office at 101 South Willowbrook Avenue, and the Fashion Square Post Office at 2100 North Long Beach Boulevard.
Law enforcement.
The Los Angeles County Sheriff's Department operates the Compton Station in Compton. When the LASD replaced the Compton Police Department in 2000, they increased patrol service hours from 127,410 to 141,692. Compton Station is centrally located in the Los Angeles area. The station is easily accessible from the Century Freeway (I-105) to the north, the Gardena Freeway (SR-91) to the south, the Harbor Freeway (I-110) to the west, and the Long Beach Freeway (I-710) to the east. Diane Walker, a 30-year veteran of the Los Angeles County Sheriff's Department, was promoted to the rank of captain by Sheriff Lee Baca, and is now commander of Compton Station. There is also a LASD substation located in the Gateway Town Center.
Transportation.
Four freeways are within or near the city's boundaries and provide access to destinations throughout the region. Interstate 710 runs through the eastern boundary, State Route 91 runs through the southern boundary. Interstate 105 runs slightly along the north of the city, and Interstate 110 along to the west.
The Metro A Line (formerly the Blue Line) light rail runs north–south through Compton. Compton station is in the heart of the city, adjacent to the Renaissance Shopping Center. Artesia station serves the southern part of the city. The A Line connects Compton to downtown Los Angeles and downtown Long Beach.
There is also a Compton Renaissance Transit System that serves the area.
Compton/Woodley Airport is a small general aviation airport located in the city. The airport lies within busy airspace, as it is situated within a few miles of both Los Angeles International Airport and Long Beach Airport.
Greyhound Lines operates the Compton station.
Collectively, these multifaceted transportation links lend justification to the city's familiar nickname of "the Hub City."
From 1902 to 1961, Compton was served by the Pacific Electric Long Beach Line.
Sister cities.
On January 19, 2010, the Compton City Council passed a resolution creating a sister cities program, to be managed as a chapter of the Compton Chamber of Commerce. The city has established partnerships:
References.
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John Cassavetes
American filmmaker and actor (1929–1989)
John Nicholas Cassavetes (December 9, 1929 – February 3, 1989) was an American filmmaker and actor. He began as an actor in film and television before helping to pioneer modern American independent cinema as a writer and director, often self-financing, producing, and distributing his own films. He received nominations for three Academy Awards, two BAFTA Awards, four Golden Globe Awards, and an Emmy Award.
After studying at the American Academy of Dramatic Arts, Cassavetes started his career in television acting in numerous network dramas. From 1959 to 1960 he played the title role in the NBC detective series "Johnny Staccato". He acted in notable films, such as Martin Ritt's film noir "Edge of the City" (1957), Robert Aldrich's war film "The Dirty Dozen" (1967), Roman Polanski's horror film "Rosemary's Baby" (1968) and Elaine May's crime drama "Mikey and Nicky" (1976). For "The Dirty Dozen", he earned a nomination for the Academy Award for Best Supporting Actor.
As a director, Cassavetes became known for a string of critically acclaimed independent dramas including "Shadows" (1959), "Faces" (1968), "Husbands" (1970), "A Woman Under the Influence" (1974), "Opening Night" (1977), and "Love Streams" (1984). His films employed an actor-centered approach which prioritized raw character relationships and "small feelings" while rejecting traditional Hollywood storytelling, method acting, and stylization. His films became associated with an improvisational aesthetic and a cinéma vérité feel. He received Academy Award nominations for Best Original Screenplay ("Faces") and Best Director ("A Woman Under the Influence").
He frequently collaborated with American actress Gena Rowlands (to whom he was married from 1954 until his death in 1989) and friends Peter Falk, Ben Gazzara, and Seymour Cassel. Many of his films were shot and edited in his and Rowlands' own Los Angeles home.
He and Rowlands had a son named Nick and two daughters, named Alexandra and Zoe, all of whom followed them into acting and filmmaking.
Early life and education.
John Nicholas Cassavetes was born in New York City on December 9, 1929, the son of Greek-American actress Katherine Cassavetes (née Demetriou), who was later featured in some of his films, and Greek immigrant Nicholas John Cassavetes. His early years were spent with his family in Greece; when he returned to New York at the age of seven, he spoke no English. He was then raised on Long Island, where he attended Paul D. Schreiber Senior High School (then known as Port Washington High School) from 1945 to 1947 and participated in "Port Weekly" (the school paper), "Red Domino" (interclass play), football, and the "Port Light" (yearbook).
Cassavetes attended Blair Academy in New Jersey and spent a semester at Champlain College in Burlington, Vermont, but was expelled due to his failing grades. He spent a few weeks hitchhiking to Florida and then transferred to the American Academy of Dramatic Arts, encouraged by recently enrolled friends who told him the school was "packed with girls". He graduated in 1950 and met his future wife Gena Rowlands at her audition to enter the Academy in 1953. They were married four months later in 1954. He continued acting in the theater, took small parts in films, and began working on television in anthology series such as "Alcoa Theatre".
Career.
Acting workshop.
By 1956, Cassavetes had begun teaching an alternative to method acting in his own workshop—co-founded with friend Burt Lane in New York City—in which performance would be based on character creation rather than back-story or narrative requirements. Cassavetes particularly scorned Lee Strasberg's Method-based Actors Studio, and the Cassavetes-Lane approach held that acting should be an expression of creative joy rather than the "moody, broody anguish" associated with Strasberg's teaching.
Shortly after opening the workshop, Cassavetes was invited to audition at the Actors Studio, and he and Lane devised a prank: they claimed to be performing a scene from a recent stage production but in fact improvised a performance on the spot, fooling an impressed Strasberg. Cassavetes then fabricated a story about his financial troubles, prompting Strasberg to offer him a full scholarship to the Studio; Cassavetes immediately rejected it, feeling that Strasberg did not know anything about acting if he had been so easily fooled by the two ruses.
An improvisation exercise in the workshop inspired the idea for his writing and directorial debut, "Shadows" (1959; first version 1957). Cassavetes raised the funds for the production from friends and family, as well as listeners to Jean Shepherd's late-night radio talk-show "Night People". His stated purpose was to make a film about modest-income “little people”, unlike Hollywood studio productions, which focused on stories about wealthy people. Cassavetes was unable to gain American distribution of "Shadows", but it won the Critics Award at the Venice Film Festival. European distributors later released the movie in the United States as an import. Although the box-office returns of "Shadows" in the United States were slight, it did gain attention from the Hollywood studios.
Television and acting jobs.
Cassavetes played bit-parts in B pictures and in television serials, until gaining notoriety in 1955 as a vicious killer in "The Night Holds Terror," and as a juvenile delinquent in the live TV drama "Crime in the Streets". Cassavetes would repeat this performance credited as an “introducing” lead in the 1956 film version, which also included another future director, Mark Rydell, as his gang mate. His first starring role in a feature film was "Edge of the City" (1957), which co-starred Sidney Poitier. He was briefly under contract to Metro-Goldwyn-Mayer and co-starred with Robert Taylor in the western "Saddle the Wind", written by Rod Serling. In the late 1950s, Cassavetes guest-starred in Beverly Garland's groundbreaking crime drama, "Decoy", about a New York City woman police undercover detective. Thereafter, he played Johnny Staccato, the title character in a television series about a jazz pianist who also worked as a private detective. In total he directed five episodes of the series, which also features a guest appearance by his wife Gena Rowlands. It was broadcast on NBC between September 1959 and March 1960, and then acquired by ABC; although critically acclaimed, the series was cancelled in September 1960. Cassavetes would appear on the NBC interview program, "Here's Hollywood".
1960s.
In 1961 Cassavetes signed a seven-year deal with Paramount. Cassavetes directed two movies for Hollywood in the early 1960s: "Too Late Blues" (1961); "A Child Is Waiting (1963)" starring Burt Lancaster and Judy Garland. He starred in the CBS western series "Rawhide" in the episode "Incident Near Gloomy River" (1961). In the 1963–1964 season he was cast in the ABC medical drama about psychiatry, "Breaking Point". In 1964, he again co-starred with his wife, this time in an episode of "The Alfred Hitchcock Hour" anthology program, and in 1965, he appeared on ABC's western series, "The Legend of Jesse James". In the same year, he also guest-starred in the World War II series "Combat!", in the episode "S.I.W.", and as the insane nuclear scientist Everett Lang in "Voyage to the Bottom of the Sea", season 2, episode "The Peacemaker".
With payment for his work on television, as well as a handful of film acting jobs, he was able to relocate to California and to make his subsequent films independent of any studio, as "Shadows" had been made. The films in which he acted with this intention include Don Siegel's "The Killers" (1964), the motorcycle gang movie "Devil's Angels" (1967), "The Dirty Dozen" (1967), for which he was nominated for an Academy Award for Best Supporting Actor, the Guy Woodhouse lead (originally intended for Robert Redford) in Roman Polanski's "Rosemary's Baby" (1968), and "The Fury" (1978). Cassavetes portrayed the murderer in a 1972 episode of the TV crime series "Columbo", titled "Étude in Black". Cassavetes and series star Peter Falk had previously starred together in the 1969 mob action thriller "Machine Gun McCain". The two later starred in Elaine May's film "Mikey and Nicky" (1976).
"Faces" (1968) was the second film to be both directed and independently financed by Cassavetes. The film starred his wife Gena Rowlands—whom he had married during his struggling actor days—John Marley, Seymour Cassel and Val Avery, as well as several first-time actors, such as lead actress Lynn Carlin and industry fringies like Vince Barbi. It depicts the slow disintegration of a contemporary marriage. The film reportedly took three years to make, and was made largely in the Cassavetes home. "Faces" was nominated for three Academy Awards: Best Original Screenplay, Best Supporting Actor, and Best Supporting Actress. Around this time, Cassavetes formed "Faces International" as a distribution company to handle all of his films.
1970s.
In 1970, Cassavetes directed and acted in "Husbands", with actors Peter Falk and Ben Gazzara. They played a trio of married men on a spree in New York and London after the funeral of one of their best friends. Cassavetes stated that this was a personal film for him; his elder brother had died at the age of 30.
"Minnie and Moskowitz" (1971), about two unlikely lovers, featured Rowlands and Cassel. "A Woman Under the Influence" (1974) stars Rowlands as an increasingly troubled housewife. Rowlands received an Academy Award nomination for Best Actress, while Cassavetes was nominated for Best Director. In "The Killing of a Chinese Bookie" (1976), Gazzara plays a small-time strip-club owner with an out-of-control gambling habit, pressured by mobsters to commit a murder to pay off his debt.
In "Opening Night" (1977), Rowlands plays the lead alongside Cassavetes; the film also stars Gazzara and Joan Blondell. Rowlands portrays an aging film star named Myrtle Gordon, who is working in the theater and suffering a personal crisis. Alone and unloved by her colleagues, afraid of aging and always removed from others due to her stardom, she succumbs to alcohol and hallucinations after witnessing a young fan accidentally die. Ultimately, Gordon fights through it all, delivering the performance of her life in a play. Rowlands won the Silver Bear for Best Actress at the 28th Berlin International Film Festival for her performance.
1980s.
Cassavetes directed the film "Gloria" (1980), featuring Rowlands as a Mob moll who tries to protect an orphan boy whom the Mob wants to kill, which earned her another Best Actress nomination. In 1982, Cassavetes starred in Paul Mazursky's "Tempest," which co-starred Rowlands, Susan Sarandon, Molly Ringwald, Raúl Juliá and Vittorio Gassman.
Cassavetes penned the stage play "Knives", the earliest version of which he allowed to be published in the 1978 premiere issue of "On Stage", the quarterly magazine of the American Community Theatre Association, a division of the American Theatre Association. The play was produced and directed as one of his "Three Plays of Love and Hate" at Hollywood, California's Center Theater in 1981. The trio of plays included versions of Canadian playwright Ted Allan's "The Third Day Comes" and "Love Streams," the latter of which served as the blueprint for Cassavetes' 1984 film of the same name.
Cassavetes made the Cannon Films-financed "Love Streams" (1984), which featured him as an aging playboy who suffers the overbearing affection of his recently divorced sister. It was entered into the 34th Berlin International Film Festival where it won the Golden Bear. The film is often considered Cassavetes' "last film" in that it brought together many aspects of his previous films. He despised the film "Big Trouble" (1986), which he took over during filming from Andrew Bergman, who wrote the original screenplay. Cassavetes came to refer to the film as "The aptly titled 'Big Trouble,'" since the studio vetoed many of his decisions for the film and eventually edited most of it in a way with which Cassavetes disagreed.
In January 1987, Cassavetes was facing health problems, but he wrote the three-act play "Woman of Mystery" and brought it to the stage in May and June at the Court Theatre, Los Angeles.
Cassavetes worked during the last year of his life to produce a last film that was to be titled "She's Delovely". He was in talks with Sean Penn to star, though legal and financial hurdles proved insurmountable and the project was forgotten about until after Cassavetes' death, when his son Nick finally directed it as "She's So Lovely" (1997).
Filmmaking style.
Cassavetes spent the majority of his directing career working 'off the grid' and in a communal atmosphere "unfettered by the commercial concerns of Hollywood." His films aim to capture "small feelings" often repressed by Hollywood filmmaking, emphasizing intimate character examination and relationships rather than plot, backstory, or stylization. He often presented difficult characters whose behaviors were not easily understood, rejecting simplistic psychological or narrative explanations for their actions. Cassavetes also disregarded the "impressionistic cinematography, linear editing, and star-centred scene making" fashionable in Hollywood and art films. Often unable to interest Hollywood studios in financing his work, Cassavetes typically worked with small but dedicated crew of friends and technicians. He said: "The hardest thing for a film-maker, or a person like me, is to find people … who really want to do something."
Cassavetes worked to create a comfortable and informal environment where actors could freely experiment with their performances and go beyond acting clichés or "programmed behaviors." He dismissed Method acting as "more a form of psychotherapy than of acting" which resulted in sentimental cliches and self-indulgent emotion. Instead, he held that acting should be an expression of creative joy and exuberance, with emphasis put on the character's creation of "masks" in the process of interacting with other people. Cassavetes also said that he strove "to put [actors] in a position where they may make asses of themselves without feeling they're revealing things that will eventually be used against them." He frequently filmed scenes in long, uninterrupted takes, explaining that:The drama of the scenes comes naturally from the real passage of time lived by the actors [...] The camera isn't content to just follow the characters' words and actions. I focus in on specific gestures and mannerisms. It's from focusing on these little things—the moods, silences, pauses, or anxious moments—that the form arises.
Cassavetes also rejected the dominance of the director's singular vision, instead believing each character must be the actor's "individual creation" and refusing to explain the characters to his actors in any significant detail. He claimed that "stylistic unity drains the humanity out of a text [...] The stories of many different and potentially inarticulate people are more interesting than a contrived narrative that exists only in one articulate man's imagination." The manner in which Cassavetes employed improvisation is frequently misunderstood: with the exception of the original version of "Shadows", his films were tightly scripted. However, he allowed actors to interpret characters in their own way, and often rewrote scripts based on the results of rehearsals and performances. He explained that "I believe in improvising on the basis of the written word and not on undisciplined creativity."
Cassavetes worked with jazz musicians Charles Mingus and Shafi Hadi to provide the score for "Shadows". Mingus's friend, Diane Dorr-Dorynek, described Cassavetes' approach to film-making in jazz terms:
The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at the moment, so that each performance was slightly different. A jazz musician works in this way, using a given musical skeleton and creating out of it, building a musical whole related to a particular moment by listening to and interacting with his fellow musicians. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced.
When asked by André S. Labarthe during the making of "Faces" whether he had the desire to make a musical film, Cassavetes responded he wanted to make only one musical, Dostoyevsky's "Crime and Punishment". Cassavetes was passionate about a wide range of music, from jazz to classical to rock, saying "I like all music. It makes you feel like living. Silence is death."
Cassavetes worked with composer Bo Harwood from 1970 to 1984 on six films in several different capacities, even though Harwood had initially only signed on to do "a little editing" for "Husbands", and "a little sound editing" for "Minnie and Moskowitz". Harwood composed poignant music for Cassavetes' following three films, and was also credited as "Sound" for two of them. During these projects Harwood wrote several songs, some with Cassavetes contributing lyrics and rudimentary tunes. During his work with Cassavetes, Harwood claimed the notoriously unpredictable director preferred to use the "scratch track" version of his compositions, rather than to let Harwood refine and re-record them with an orchestra. Some of these scratch tracks were recorded in Cassavetes' office, with piano or guitar, as demos, and then eventually ended up in the final film. While this matched the raw, unpolished feel that marks most of Cassavetes' films, Harwood was sometimes surprised and embarrassed.
The relationship between Harwood and Cassavetes ended amicably. When asked by documentarian Michael Ventura during the making of Cassavetes' last film "Love Streams", what he had learned from working with Cassavetes, Harwood replied:
I learned a lot through John. I've done a lot of editing for him. Picture editing, sound editing, music editing, shot sound, composed score, and I've learned a lot about integrity ... I think you know what I mean. You know, thirty years from now, I can say I rode with Billy the Kid.
Personal life.
Marriage.
Cassavetes was married to American actress Gena Rowlands from 1954 until his death in 1989. Many of his films were shot and edited in his and Rowlands' own Los Angeles home. He and Rowlands had a son named Nick and two daughters named Alexandra and Zoe, all of whom followed them into acting and filmmaking.
Death.
A long-time alcoholic, Cassavetes died in Los Angeles from complications of cirrhosis at the age of 59 on February 3, 1989. He is buried at Westwood Village Memorial Park cemetery in Los Angeles.
At the time of his death, Cassavetes had amassed a collection of more than 40 unproduced screenplays, as well as a novel, "Husbands". He also left three unproduced plays: "Sweet Talk", "Entrances and Exits", and "Begin the Beguine", the last of which, in German translation, was co-produced by Needcompany of Belgium and Burgtheater of Vienna, and premiered on stage at Vienna's Akademietheater in 2014.
Legacy and reception.
Cassavetes is the subject of several biographies. "Cassavetes on Cassavetes" is a collection of interviews collected or conducted by Boston University film scholar Ray Carney, in which the filmmaker recalled his experiences, influences, and outlook on the film industry. In the 2005 Hollywood issue of "Vanity Fair", one article features a tribute to Cassavetes by three members of his stock company, Rowlands, Gazzara, and Falk.
Many of Cassavetes' films are owned by Faces Distribution, a company overseen by Gena Rowlands and Julian Schlossberg, distributed by Jumer Films (Schlossberg's own company), with additional sales and distribution by Janus Films. In September 2004, The Criterion Collection produced a Region 1 DVD box set of his five independent films: "Shadows", "Faces", "A Woman Under the Influence", "The Killing of a Chinese Bookie" and "Opening Night". Also featured in the set is a documentary about the life and works of Cassavetes, "A Constant Forge", a booklet featuring critical assessments of the director's work and tributes by old friends. Criterion released a Blu-ray version of the set in October 2013. In 2005, a box set of the same films was released in Region 2 by Optimum Releasing. The Optimum DVD of "Shadows" has a voice-over commentary by Seymour Cassel. Then, in 2014, the Faces/Jumer library became the property of Shout! Factory, which acquired the films' holding parent company, Westchester Films.
Cassavetes' son Nick followed in his father's footsteps as an actor and director, adapting the "She's Delovely" screenplay his father had written into the 1997 film "She's So Lovely", which starred Sean Penn, as John Cassavetes had wanted. Alexandra Cassavetes directed the documentary "" in 2004, and in 2006 served as 2nd Unit Director on her brother Nick's film, "Alpha Dog". Cassavetes' younger daughter Zoe wrote and directed the 2007 film "Broken English", featuring Rowlands and Parker Posey.
"The New Yorker" wrote that Cassavetes "may be the most influential American director of the last half century"—this in announcing that all the films he directed, plus others he acted in, were being screened in a retrospective tribute at the Brooklyn Academy of Music throughout July 2013. AllMovie called Cassavetes "an iconoclastic maverick".
The Independent Spirit Awards named one of their categories after Cassavetes, the Independent Spirit John Cassavetes Award. A one-person show about John Cassavetes titled "Independent" premiered at Essential Theatre in Atlanta in August 2017. The play was written by John D. Babcock III and starred actor Dan Triandiflou as Cassavetes. The song "What's Yr Take on Cassavetes?" by the band Le Tigre is about misogynistic themes within John Cassavetes' films and whether they can still be praised after those themes are identified. The song "Cassavetes" by the band Fugazi parallels John Cassavetes' independence from the film industry with the band's own independence from the record industry. In concert, singer Guy Picciotto introduced it as "a song about making your own road."
Filmography.
As director
Awards and nominations.
As a filmmaker, he was nominated for the Academy Award for Best Original Screenplay for "Faces" (1968) and the Academy Award for Best Director for "A Woman Under the Influence" (1974). The Independent Spirit Awards named the John Cassavetes Award in his honor.
References.
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External links.
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Shadows (1959 film)
1959 film by John Cassavetes
Shadows is a 1959 American independent drama film directed by John Cassavetes about race relations during the Beat Generation years in New York City. The film stars Ben Carruthers, Lelia Goldoni, and Hugh Hurd as three black siblings, though only one of them is dark-skinned enough to be considered African American. The film was initially shot in 1957 and shown in 1958, but a poor reception prompted Cassavetes to rework it in 1959. Promoted as a completely improvisational film, it was intensively rehearsed in 1957, and in 1959 it was fully scripted.
The film depicts two weeks in the lives of three siblings on the margins of society: two brothers who are struggling jazz musicians and their light-skinned younger sister who goes through three relationships, one with an older white writer, one with a shallow white lover, and finally one with a gentle young black admirer.
Film scholars consider "Shadows" a milestone of American independent cinema. In 1960, the film won the Critics Award at the Venice Film Festival.
In 1993, "Shadows" was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Plot.
Light-skinned Ben, diffident and awkward, wants to be a jazz trumpeter, but spends most of his time drinking in Manhattan bars and trying to pick up girls with two fellow-idlers, Dennis and Tom. He is supported by his darker-skinned brother Hugh, a jazz singer who is unable to find much work because of his old-fashioned vocal style. Hugh's career is managed by Rupert.
Ben and Hugh live with their fair-skinned younger sister Lelia, who wants to be an artist. Recently, she has been under the wing of an older boyfriend, the intellectual David, who encourages her to write and attempts to be helpfully critical of her efforts. At a party, Lelia abandons David for a younger man, Tony, who coaxes her back to his apartment. Tony professes his love for Lelia, and, despite her apparent apprehension, he takes her virginity. Afterward, she is filled with ambivalence and regret about Tony and about her first sexual encounter, but they agree to continue dating. Seeing her home, he is shocked to discover that her family is black. Sensing his racial animosity, Hugh kicks Tony out of the apartment, as he does not want his sister dating a perceived bigot.
Hugh has some guests over, and a friend urges Lelia to flirt with a gentlemanly black man named Davey. She is distant and contrary, but she and Davey arrange to go on a date. When Davey comes to pick Lelia up, she makes him wait for hours while she gets ready. As they are walking out the door, Tony arrives. He is disappointed to see her already dating another man, and she exits past him without a word. Hugh and Tony nearly come to blows, but Ben intervenes and listens to an apologetic message that he promises to relay to Lelia, though, after Tony leaves, Ben laughs at Tony with Hugh and Rupert. Lelia and Davey go dancing, and she continues to be rude, but softens after Davey asserts himself.
At the train station, Rupert informs Hugh that one of the two bookings of Hugh's upcoming tour has been canceled. He vents his frustration about their state of affairs, and, for once, it is Hugh who says some encouraging words to lift Rupert's spirits, instead of the other way around. Smiling, the friends get on the train for a week's billing in Chicago.
Ben, Dennis, and Tom drunkenly clown around with some girls in a bar. When the girls' tough male dates come out of the bathroom, tensions flare, and the two sides take their argument outside, where Ben, Dennis and Tom are badly beaten up. Over a drink, Ben tells his friends that he is tired of their way of living. Tom heads home, and, while Dennis goes to buy some cigarettes, Ben wanders off alone down the nighttime New York City streets.
Production.
The idea for the film came from a classroom exercise. With acting coach Burt Lane (later the father of Diane Lane), Cassavetes was conducting classes for aspiring actors at the off-Broadway Variety Arts Theatre in Manhattan's Union Square neighborhood. The classes, listed as "The Cassavetes-Lane Drama Workshop", were Cassavetes' attempt to counter method acting, which was ascendant in New York theatre and film. A particular exercise became the core of the film: A young African-American woman who was very light-skinned dated a young white man, but he was repulsed when he discovered she had a black brother. Cassavetes determined to put the scene on film, so he began looking for funding. While ostensibly promoting the film "Edge of the City" on Jean Shepherd's "Night People" radio show on WOR in February 1957, Cassavetes said he could make a better film than could director Martin Ritt. He pitched the drama workshop idea to Shepherd's radio audience. Cassavetes was surprised when listeners sent about $2,000 to start the project. Money also came from Cassavetes' friends, including Hedda Hopper, William Wyler, Joshua Logan, Robert Rossen, José Quintero, and Cassavetes' agent Charlie Feldman. Cassavetes hired German cinematographer Erich Kollmar as cameraman, the only crew member except Cassavetes with any experience in film.
Using student actors from the Cassavetes-Lane Drama Workshop, shooting started in February 1957 in a largely improvised form. Cassavetes composed an outline for the film, but not a script. Cassavetes and assistant director/producer Maurice McEndree gave detailed instructions to the actors, constraining the situation to guide the story, with the words and the movements improvised by the actors. Cassavetes intended the story to evolve from the characters rather than vice versa. Three initial weeks of work was thrown out, the first week because of technical problems with quality, and the next two weeks because Cassavetes felt that the actors were talking too much. After they had developed their characters to the point at which they could portray emotion in silence, the actors improvised with more clarity and with a level of truth that Cassavetes found revealing. He was a demanding director who required a critical romantic scene to be performed more than 50 times before he was satisfied with the results. About 30 hours of film was exposed during several months of off-and-on shooting.
Filming took place in various locations, including inside the apartment that Cassavetes shared with his wife Gena Rowlands, and on the streets of New York. Using a 16 mm camera borrowed from Shirley Clarke, and monochrome film stock, Kollmar was forced to shoot scenes in which the actors could move in any direction they wished, making for unpredictable zoom and focus requirements. No filming permits were obtained, so the cast and crew were necessarily ready to pack quickly and leave a location. The lighting was a general wash rather than specific effects. The microphone was placed by Jay Crecco (who was also an actor in the film), and dialogue was recorded to tape with street noises intruding. Even though Cassavetes said "print it!" after he was satisfied with a scene, there was nobody on the crew keeping track of the film takes, so all of the exposed film had to be printed. The editing of the film was made much more difficult by the lack of notes taken during shooting, and by the sound recorded "wild" on tape, not synchronized with the film. The microphone failed to pick up some of the dialogue, requiring lip-readers to watch the footage and write down what had been said so that the actors could re-record their dialogue. Editors Len Appelson, Maurice McEndree and Wray Bevins began work while shooting was still under way, editing the film in an office next door to the Variety Arts Theatre, the office that is seen hosting a rock 'n roll party in the film. Primary photography was finished by mid-May 1957, with of film exposed, but the editing took more than a year. Cassavetes was not available during much of this time; starting in June, he was on location working as an actor first in "Saddle the Wind", then in "Virgin Island" (both 1958). At the end of 1957, the editors moved to a professional editing suite to complete the task.
Cassavetes intended to have the jazz music of Charles Mingus on the soundtrack, but Mingus composed a number of songs that could stand on their own rather than impressionistic film music to follow the story. Three hours of Mingus and his band were recorded, and much of this material was placed in the first version of "Shadows", screened in 1958, but almost all of it was removed during the 1959 reworking of the film. Two of Mingus' compositions for the film were subsequently included on the 1959 album "".
1958 screening.
The film was finished late in 1958, printed onto 16 mm stock, and three free screenings were announced by Shepherd on his radio show. Cassavetes overestimated the audience; only about 100 people showed up for each of the midnight showings at Manhattan's Paris Theater, which could hold almost 600 people. At the first showing, there were initial problems with the sound, which were remedied. Some of the audience members were friends and colleagues of Cassavetes; he later said that 90% of them disliked the film. A number of people walked out before the film ended, including Burt Lane, who had coached most of the cast. Assistant cameraman Al Ruban told Cassavetes that the film was "okay in a kind of naive way". Cassavetes' father told him it was a "pure" film, not a good film. Cassavetes thought it was "totally intellectual" and thus "less than human". The poor reception made him decide that the film should be radically reworked.
However, avant-garde film critic Jonas Mekas highly praised the film, writing in the January 1959 issue of "Film Culture" that "Shadows" "presents contemporary reality in a fresh and unconventional manner... The improvisation, spontaneity, and free inspiration that are almost entirely lost in most films from an excess of professionalism are fully used in this film." The magazine, founded by Mekas and his brother, bestowed upon "Shadows" its first "Independent Film Award". Mekas then arranged to have the film shown six more times at the Young Men's Hebrew Association.
1959 reworking.
Cassavetes shot new scenes in 1959 using a script that he co-wrote with Robert Alan Aurthur. The racial prejudice angle was reduced, and the three main characters were given more complications, as well as more time exploring their connectedness. With financing from Nikos Papatakis and others, Cassavetes reassembled the required members of the cast and crew. Half to two-thirds of the original footage was replaced, which angered those whose work was diminished. A 16 mm print was struck, and the new version was shown on November 11, 1959, at Amos Vogel's avant-garde Cinema 16, on a double bill with the 30-minute beat poetry film "Pull My Daisy".
The first version was an ensemble performance, while the second version put more emphasis on Lelia. The revelation that she was African-American came much earlier in the second version. The first version had more of a conventional narrative, but its pace was slow in sections. It also contained a number of technical flaws, such as lip-sync errors. Lelia's date with Tony was greatly altered: in the first version, she only talks with him, but in the second version, she loses her virginity to him. The first version had more scenes of Ben and his friends hanging around Times Square. Actor Anthony Ray, the son of famous director Nicholas Ray, had top billing in the first version, playing the part of Lelia's date Tony, but in the second version, this billing was reduced to reflect his diminished screen time. His character was given greater dignity in the second version.
A major difference between the two versions was that Mingus' music was featured more in the first version, but the music was incongruously paired with the visuals, according to film critic Jonathan Rosenbaum. For the second version, Cassavetes replaced almost all of the Mingus recordings. For example, he removed a section in which a muted trumpet replaces the speech of character Tony on the phone, the sound mocking him. Another removed part involves the Mingus band shouting out a snatch of the gospel song "Leaning on the Everlasting Arms" during a scene in which Ben and his friends are recovering from a brutal fight. The first version also uses two Frank Sinatra songs that are not in the second version because Cassavetes could not obtain the rights. Mingus's saxophonist Shafi Hadi, previously known as Curtis Porter, provided most of the second version's soundtrack, expanding on a short passage that Mingus had written. Hadi was directed in his improvisation by Cassavetes, who acted out all the parts for him in the recording studio.
Another difference between the versions is that Ben's statement "I've learned a lesson" comes at the end of the second version, conveying to the viewer that Ben will improve himself after receiving such a cruel beating. This brings a sense of moral closure to the film. In the first version, the fight and Ben's statement appear halfway through the film, following which he is shown doing the same things again, having failed to learn his lesson. Thus, Ben is portrayed as unlikely ever to change his ways in the first version.
Reception.
In his December 1959 manifesto "A Call for a New Generation of Film Makers", Mekas said that "Shadows" was the start of a new movement that would inspire independent filmmakers, energize the flagging avant-garde film scene, and triumph over the commercial Hollywood film industry. Even so, he was upset that the film had been reworked. In January 1960, he wrote in his movie-review column in "The Village Voice" that the 1959 version was commercialized, "just another Hollywood film", and that everything he had praised in the first version had been "completely destroyed". Later in his life, he said that the first version should have never been remade, but that the second version was a better indication of the direction in which Cassavetes was going as a filmmaker.
"Shadows" was given the Critics Award at the Venice Film Festival. Cassavetes obtained distribution through British Lion in 1961.
Legacy.
The film was shocking to American audiences in the late 1950s and early 1960s because it turned the "concept of race upside down". Two of the principal actors portraying African-Americans were not actually black: Goldoni was born in the U.S. to Sicilian parents, fully European in heritage, and Carruthers was only one-sixteenth black. Carruthers used a sunlamp to darken his skin during the 1957 shooting of the film, but in 1959 for the new scenes, he abandoned this effort. Carruthers and Goldoni were married in 1960, but quickly divorced.
After "Shadows" was honored by the Venice Film Festival, the international publicity helped it become the first American film to see success outside of the Hollywood system. It joined "Pull My Daisy" and Shirley Clarke's "The Connection" to establish a new wave of American independent films.
In 1994, film critic Leonard Maltin said the film "was considered a watershed in the birth of American independent cinema".
2003 rediscovery.
The second version of the film, the result of the reshooting and reworking Cassavetes did in 1959, is the one that Cassavetes considered to be the final product, and he refused to show the 1958 version. In time, he lost track of the first version's only print, and for decades it was believed to have been lost or destroyed. In the 1980s, Cassavetes said he may have donated the film to a school far away. In fact, the 16 mm print of the first version had been left on a New York City subway train, taken to the subway's lost-and-found department, and then purchased by a second-hand-goods shop owner as part of a box of unclaimed items. The shop owner saw "Shadows" scratched into the leader on the first reel, but he did not recognize the film's name. The shop eventually went out of business, and the owner retired. The reels of film were stored in an attic in Florida, and, in November 2003, they were given by the shop owner's daughter to film professor Ray Carney, who had been searching for the print of the first version of "Shadows" since the 1980s. A digital copy was shown at the International Film Festival Rotterdam in late January 2004. Since then, few people have seen this version, as Rowlands and the Cassavetes estate have been involved in a legal dispute regarding Carney's use of the film.
References.
Notes
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Further reading