The Brief

Embarking on a treasure hunt for the art and artifacts held by the Los Angeles Unified School District is no small feat.

The nation’s second-largest school district is home to 389,000 students and roughly 100,000 pieces of art, including paintings, sculptures, maps and murals.

The art can be found in schools and district buildings across the district’s over 700-square-mile terrain. It is part of its Art & Artifact Collection, which began sometime in the 1850s and morphed into a multi-million-dollar collection today.

Sure, the collection holds school records — classroom materials, photos, yearbooks. But it also has ancient Mesopotamian cuneiform tablets dating back to 2100 BCE. Sculptures of “Don Quixote” by Salvador Dalí from 1979. A 1931 “Bugs Bunny & Friends” by the animator Chuck Jones shows Bugs Bunny, Wile E. Coyote, Daffy Duck and The Road Runner reading a book entitled “History of the 9th St. School.”

The collection predates the official formation of LAUSD in 1961. The city was served by the Los Angeles City School District and the Los Angeles City High School District, which later merged. Most of LAUSD’s notable pieces are donations from alumni, former administrators and members of the larger Los Angeles community. A 2008 appraisal estimated the value was more than $12 million, according to a 2022 district document obtained by EdSource.

“LAUSD history is Los Angeles history,” said Cintia Romero, the archive and museum’s curator and archivist. “We have all the people here; we have all kinds of buildings; we have all kinds of architecture; we have all kinds of cultures.”

It is rare for school districts to hold on to such artifacts, says Brenda Gunn, the president-elect of the Society of American Archivists.

“I don’t think it’s very common at all,” Gunn said. “I think what typically happens is that the school districts don’t really invest in any sort of preservation. It’s not often that a school district has an archivist, and if they do have any preservation efforts, it’s usually by a nonprofessional.”

Treasures at school sites 

School officials also collect items unearthed at school sites during renovations — such as old fire alarms — as well as yearbooks and photographs that document LAUSD history. Los Angeles Unified says it maintains “professional standards for archival care and are intended to ensure that important pieces of the district’s history are maintained for future generations.”

“School district records are like a continuous public diary of shifts in neighborhoods, how the school district has approached its curriculum, how did it manage desegregation or any big social and cultural events,” Gunn said. She added that some might also be interested in viewing them for something more personal, like understanding family genealogy.

There’s little the LAUSD archive turns down. The main criteria is whether the art can serve in an educational capacity or as a teaching aide, Romero said. While LAUSD does sometimes loan pieces out to other institutions, it is “not in the business of buying or selling artwork.” And sometimes, she said, selling wouldn’t be in the “spirit of the donors,” some of whom were the original artists.

“It doesn’t necessarily have to be valuable to be accepted. It can be a teaching aid,” Romero said. “So, everything kind of has value, really. Everything can be somewhere.”

And it is.

The “X” on LAUSD’s treasure map sits in a warehouse at the school police headquarters in rows of boxes that house a large portion of the collection. That includes the district’s antiquity collection donated by Venice High School’s historic Latin Museum, which operated from 1932 to 1997, and is now defunct.

In a small museum at the LAUSD headquarters on S. Boundary Avenue, there is a display mimicking a late 19th-century classroom.

In the “classroom” are wooden phonics teaching tools with scrolling letters, antique maps and silver-colored vessels once used during home economics classes.

The classroom has a list of “Rules for Teachers 1872” that sits on the front desk: bring “a bucket of water and a scuttle of coal for the day’s session,” take “one evening each week for courting purposes, or two evenings a week if they attend church regularly.”

Preservation at schools 

But it is among the modern-day classrooms with digital tablets and smart boards where the rest of the treasure lies:

Typically, in most school districts, items just end up sitting idly by for years, succumbing to what archivists call “benign neglect,” Gunn said.

“There are all kinds of places that this archival material will end up,” Gunn said. “And staff are like, ‘Oh, I don’t want to throw this away, but it can’t be in my office, so I’m going to store it somewhere,’ and then it stays there until the next person.”

For Gunn, the hope is that school officials may take the extra step to preserve art, documents and history. Leaving something in a storage closet or in a box and walking away is not enough, she says.

“You’re not hurting anything. You’re certainly not throwing things away, but you’re not helping this; you’re not improving the situation of the records,” Gunn said. “But, what you hope is that someone down the road will see them, open that door and say, ‘Oh, these are valuable. And, if we can’t keep them here, then maybe there is another archive that will take them.’”

In the case of the LAUSD archive, there have been several thefts, including a painting at Dorsey High School. Romero said that while there aren’t many details of the painting, the president of the school’s alumni association has since found it, and traded $25,000 worth of posters and plans to leave it to LAUSD.

Today, the district maintains that school security procedures, including key access, protect the pieces.

Ensuring public access

While LAUSD students might enjoy little treasures displayed on their school walls and in hallway display cases, it’s more challenging for members of the public to view items in the collection.

In the 1980s, a formal inventory of art was curated. And in 2004, the collection was digitized, Romero said.

So, since 2018, Romero and her small staff — made up of a volunteer and a small cohort of interns from Cal State Northridge and LAUSD’s Downtown Business Magnet school — continued to digitize items and add them to a public database, which can be viewed for free.

This process of digitizing the archive is largely made possible by donations and grants, though Romero’s position is funded through LAUSD’s general fund, according to the district.

But curating the collection isn’t just about LAUSD’s or Los Angeles’s past. It’s also about the future.

Romero and her team also keep tabs on ongoing renovation projects at school sites that could reveal new additions.

“We have so many schools, and each school has something,” Romero said. “Every school has some kind of history.”

A new free record shop for survivors of last year’s Eaton and Palisades fires is celebrating with a grand opening party Saturday night.

After losing his home in the Eaton Fire, Brandon Jay founded Altadena Musicians to get instruments back into the hands of musicians who lost their gear in fires.

Now he’s doing that with vinyl records, too.

“We want to be here to help replace those items and support music in people’s lives that can’t necessarily afford it right now because they’re saving all their pennies just to live and also just to rebuild their homes,” Jay told LAist.

Jay says they’ve seen roughly 3,000 records donated so far. Now they have a dedicated space on Lincoln Avenue where fire survivors can sign up for time slots and shop for up to 10 records a month.

“It’s a really lovely distraction but it kind of keeps me going as well just to know that we’re trying to build something great for the community and keep us all moving forward,” Jay said.

The store will carry copies of the benefit album, Gimme Shelter: Songs for LA Fire Relief. The compilation features cover art by Shepard Fairey and L.A. specific tracks from artists like Elliott Smith ("Angeles" of course), Norah Jones, The Flaming Lips, as well as a cover of "Burning Down the House" by Talking Heads performed by Jay and about 50 other fire-impacted musicians.

Reggae star Ziggy Marley has spent decades carrying one of music’s most celebrated legacies. But until now, he had never written a song directly about his father, Bob Marley.

That’s changed with “Many Mourn for Bob,” a track on Marley’s ninth solo album Brightside, his first release recorded in his new studio in North Hollywood.

Marley was just 12 when his father died of cancer in 1981. Now 57, Marley says the song instinctually emerged after years of life experience and producing the biopic One Love, which revisited his father’s struggles like an assassination attempt amid political violence in Jamaica.

“He went through some things that was really tough on a human being – and just understanding him in that light is to have a little bit more emotional, deeper connection to his experience,” Marley said in an interview at his studio.

Searching for the bright side

The deeply personal track is part of a splashy return for Marley, who's touring behind Brightside and will perform at the Hollywood Bowl on June 21.

The new album blends political themes, optimism and musical experimentation.

Its lead single, “Racism Is a Killa,” featuring Big Boi, pairs the heavy topic with an upbeat groove that he hopes will make the song more accessible to young people.

“We just wanna come out straightforward, like I never want to come out tiptoeing,” Marley said. “I want to say something that can catch your ears or catch your thoughts.”

That tension between darkness and hope runs throughout Brightside. Marley described the album as a reflection on enduring difficult periods – from the pandemic to the Los Angeles wildfires – without losing sight of optimism.

“Sometimes we get lost in that so much that we don't realize that there is always a bright side,” Marley said.

The 432 Hz experiment

The album also experiments sonically: Marley recorded Brightside using 432 hertz tuning instead of the standard 440 hertz in most mainstream music. Advocates of 432 hertz believe it produces a warmer, more meditative sound better synced to the natural world. (You can hear the difference for yourself here.)

“It's a lower musical frequency, but it's a higher frequency in a next sense of your spirituality and emotion,” he said. “So even though the numbers go down, the frequency actually go up.”

Marley sees the move as part of a larger search for new creative approaches.

“I'm very open-minded and always trying to evolve and just experiment with life and music,” Marley said.

The Grammy winner, who joins James Blake and Ed O’Brien of Radiohead as the most high-profile artists to record at the lower frequency, floated the idea of a larger movement among artists.

“Let's just have a revolution in the music industry,” he said. “Let's change the frequency.”

Building a dream

Marley works out of his Rebel Lion Studio in North Hollywood, its name a nod to his 2018 album Rebellion Rises while also a play on the word “rebellion.”

He described the studio as an extension of the independent spirit his father built with Tuff Gong Studio in Jamaica.

Musicians set up for rehearsal ahead of the next leg of Ziggy Marley's tour.

(

Josie Huang

/

LAist

)

“My father had a dream, and I had a dream too,” Marley said.

Like with Tuff Gong, Marley also plans to expand the studio operation to include vinyl pressing as records continue their resurgence in the streaming era.

“There’s always gonna be a vinyl present going on,” Marley said. “A thousand years from now, people that we're still gonna need vinyl records to listen to music.”

Ziggy Marley in the hallway of his new studio in North Hollywood.

(

Josie Huang

/

LAist

)

For years, Marley said, he worked out of smaller home setups and rented facilities before deciding to build a larger permanent space in L.A.

Marley said the city has become central to his own creative evolution over the last two decades of living and working here.

Drawn initially by music, friends and the city's small but tight-knit Jamaican community, he says being surrounded by creatives from different backgrounds helped push his artistry in new directions.

“I left my safety and my community, my tribe, and come out by myself to L.A.,” he said. “But it's a great experience. It really helped my growth as a human being being here.”

What’s next

Fresh off the release of Brightside, Marley says he’s already working on another album – a notably quicker turnaround since his last album, the family-music release More Family Time in 2020,

“We're doing back to back,” he said.

Ziggy Marley will be performing at the Hollywood Bowl on June 21 as part of a tour supporting his new album Brightside.

(

Astrida Valigorsky

/

Getty Images

)

He’s also busy writing a children’s book based on his feel-good hit anthem “True to Myself” and eyeing opportunities in front – or behind the camera – inspired by his time working on One Love and making the video for “Racism Is A Killa.”

“Same philosophy, same message, but within visuals, you know?” Marley said excitedly. “I want to create some stories and try out. I feel it coming. I can feel it.”

A City Council committee voted Friday to shelve a proposed ballot measure aimed at cutting L.A.'s “mansion tax” nearly in half.

The ad hoc committee on Measure ULA voted 2-1 to set aside a proposal by Councilmembers John Lee and Marqueece Harris-Dawson that would have asked voters in November to reduce the ULA transfer tax rate for multifamily and mixed-use properties to somewhere between 2% and 3.5%, down from the current rate of up to 5.5%.

However, the ballot measure proposal was also referred to the City Council’s rules, elections, and intergovernmental relations committee, which could still choose to move it forward.

Instead, the ad hoc committee advanced a narrower pilot program that would reduce the property transfer tax only for newly built affordable housing projects.

The pilot program won't need voter approval in the form of a ballot measure. Committee Chair Ysabel Jurado, who introduced the substitute language, said she believes the city should avoid a ULA ballot measure because it’s still too early to evaluate the measure’s long-term effects.

“ I'm against going to the ballot, but I'm for making fixes that make this better,” Jurado said.

Voters will see a separate proposal on their ballots by the Howard Jarvis Taxpayers Association to effectively repeal Measure ULA.

If the L.A. City Council does not approve reforming the measure, the only decision on the ballot in November may be whether to keep the mansion tax in its current form or end it.

About the mansion tax

L.A. voters approved Measure ULA in 2022 to fund affordable housing and homelessness prevention. The measure taxes real estate sales over about $5 million. Since taking effect in April 2023, ULA has raised just over $1.1 billion from 1,633 real estate transactions, according to the city’s housing department.

The city projects it will generate about $500 million in the coming fiscal year — about half of what proponents initially promised. It has funded about 800 new affordable units and helped stabilize thousands of renters facing eviction, according to the housing department.

But critics say the tax has suppressed housing development. Several studies link the tax to a slowdown in apartment construction in Los Angeles, but ULA supporters say high interest rates and broader economic conditions are to blame.

The City Council's ad hoc committee on Measure ULA was formed earlier this year to study how the measure is working and develop potential reforms. That work took on more urgency inside L.A. city hall after the Howard Jarvis Taxpayers Association qualified a statewide ballot measure for November that would effectively repeal Measure ULA entirely.

Joe Donlin, director of the United to House LA coalition, which campaigned for the original measure, said the City Council committee made the right call by rejecting broader exemptions.

“By not taking up the extreme calls for broad, 15-year waivers that could cost the program about a third of its revenue, the committee acknowledged that ULA is working,” Donlin said in a statement.

A separate group of housing developers, union workers and advocacy groups calling itself the “Mend It, Don’t End It” coalition has been urging city hall to make changes to ULA. On Friday, the group said it supports the measure, but believes targeted reforms are still needed.

“Independent research shows that Measure ULA has slowed housing production in Los Angeles at a time when we need more housing, not less,” said Melanie Mendoza, a coalition spokesperson.

What the data show

The debate over ULA's impact played out in the committee room Friday morning. The city's chief legislative analyst reviewed seven independent studies on ULA’s impact. Three of those studies concluded ULA had suppressed housing production and reduced property tax revenues, while four found no meaningful negative impact.

Before ULA took effect, Los Angeles collected about $22 million a month in transfer tax. After that, it dropped to about $13 million. But city legislative analyst Henry Flatt told the committee a similar decline happened in cities without the tax, including Glendale, Long Beach, Pasadena and Santa Clarita.

“We are not currently convinced that Measure ULA has had an extremely negative impact on general fund revenues,” Flatt told the committee.

The county assessor's office read the same period differently. Scott Thornberry, an assistant assessor with L.A. County, told the committee that commercial and industrial property sales are falling in the city but not elsewhere in the county.

“We are seeing, we believe, a trend line of impact to property tax revenue growth in the city of L.A. specifically," Thornberry said.

What the committee did

Instead of the ballot measure, the committee voted to develop a five-year pilot program cutting the ULA tax to 1.5% for newly constructed affordable housing projects that meet specific requirements.

Lee, whose ballot measure was replaced with language advancing the pilot program, said he hadn't seen the substitute prior to Friday’s meeting and voted against it.

“This was just placed in front of me,” he said. Lee objected to a provision in the substitute recommendations calling for $30 million in new spending on homelessness support.

“Without knowing where this money's coming from, I'm going to have to vote no,” he said.

Lee told LAist he supports stronger oversight and technical improvements to Measure ULA, but believes a ballot measure is the right approach.

“Voters deserve the opportunity to consider targeted changes that would preserve the intent of the measure while addressing its unintended impacts on housing production and real estate activity in Los Angeles,” the councilmember said, in a statement.

Friday's meeting was the committee's final scheduled hearing. The committee, which is set to dissolve June 1, also voted to advance a narrower nonprofit tax refund limited to organizations that can prove all sale proceeds went directly to affordable housing.

The committee continued a separate motion on fire exemptions for Palisades fire victims, which will be heard by another council committee. A motion to loosen eligibility rules for the ULA Citizens Oversight Committee was noted and filed.

Councilmember Imelda Padilla, who introduced several of the committee's motions, said the process had been guided by a commitment to protect the measure.

"My goal has always been to listen carefully, bring people into the conversation, and protect ULA while honoring the voters' intent," she said at Friday’s meeting.

In her closing remarks, Jurado reflected on the three-member committee’s past work.

“We released $14 million in rental assistance to the most vulnerable Angelenos and $300 million for affordable housing,” she said. “We did in six or seven meetings what others couldn't do in five years.”

The ad hoc committee's recommendations now move to the full City Council.

Harris-Dawson and Lee’s ballot measure motion will be considered by the City Council’s rules committee at a later date, officials said.

Monsterpalooza, the annual movie-monster bash for horror fans, returns to the Pasadena Convention Center this weekend, starting Friday night (May 29) and lasting through Sunday.

What to expect

Now in its 18th year, devotees can rub elbows with legendary beastie creators, browse hundreds of vendors who traffic in the weird and unsettling, and marvel at practical effects that’ll make your flesh creep.

Dozens of panels and presentations are scheduled, including a deep-dive into the 95th anniversary of the Dracula and Frankenstein movies by writer Julian David Stone.

Writer Julian David Stone gives a presentation at a past Monsterpalooza event.

(

Perry Shields

/

Courtesy Julian David Stone

)

Stone said that the two classic movies have left a lasting impact.

“Dracula is a movie about supernatural horror..... and Frankenstein is about technological or man-made horror," he said. "You can just trace those two themes all the way forward to this past year with Sinners and Megan 2.0."

Richard Redlefsen's Armageddon Rat at the PPI Booth at a past Monsterpalooza.

(

Steve Jennings Photography

/

Courtesy Visit Pasadena

)

Stone first attended the convention in 2008, returning over the years as a fan, spectator and presenter.

“It’s just a terrific convention that celebrates all things horror,” Stone said. “There’s a lot of celebrities you can meet who were in these horror films and you can get pictures with them." He added that he’ll never forget when he met Carla Laemmle in 2010 — the last living cast member of the original 1931 Dracula.

Mike Mekash and Chris Nelson re-created Twisty the Clown on Dan Gilbert at the PPI Booth at a past Monsterpalooza.

(

Steve Jennings

/

Courtesy Visit Pasadena

)

Who's attending

If you’re jonesing to be photographed with high-profile entertainers (expect a fee for many), this year's event has a line-up that includes musician Alice Cooper, actress Lin Shaye from the Insidious movie franchise and David Howard Thornton, who plays Art the Clown in the popular Terrifier movie series.

Cosplay and crazy costumes are encouraged, although a T-shirt celebrating a classic horror movie will also do. Just come ready to adore all things that gnaw and gash.