George Washington University, PhD, American Studies, May 2016
Emory University, Fellow, James Weldon Johnson Institute for the Study of Race and Difference, 2016-2017
Describe your current research. What about it drew your interest?
In my current research, I explore the relationship between architecture, housing policy, race, and visual culture to study the history of Atlanta’s public housing program. The “rise and fall” narrative, which frequently relies on critiques of design, policy, and funding, has dominated public housing history, and I hope to demonstrate the ways in which visual representations and public relations had an equally vital and largely untold role of influence on this major municipal program. My research focuses on demonstrating that neither the early success nor the later failure of public housing was inevitable but both were the result of considerable rhetorical work dependent upon representations of modernist architecture, the social program, and residents. I also explore the unique, symbiotic relationship that existed between Atlanta – a city obsessed with image and self-promotion – and public housing. While focused on Atlanta, my research looks at larger questions about the ways that images and visual rhetoric operate as agents in urban politics, policy, and understandings of race.
I lived and worked in Atlanta for five years before moving to Washington, DC to start graduate school. It was unlike any other city I had lived in, and while it took a while to grow on me, I became fascinated with it. While I was working on a paper for a research seminar, I stumbled on a catalogue entry for a collection of papers at Emory University of an Atlanta real estate developer turned amateur documentary photographer, filmmaker, and public housing advocate. A year later, happy to have a reason to visit Atlanta, I took a research trip to view that collection. Within the first day of research, I had a feeling that I might have discovered my dissertation topic. This topic perfectly brings together my interests in the built environment, urban history, and visual culture. Now, as I’m taking my dissertation and revising it to become a book manuscript, I am still just as excited about this topic as I was when I started my research almost seven years ago.
Describe what you are currently teaching. How does your teaching relate to your scholarship?
Last semester I taught a course at Emory University called “20th Century African American Urban History and Visual Culture.” We examined twentieth-century African American urban history through the lens of visual culture. As a class, we worked to develop a clear understanding of the historical and interdisciplinary frameworks that are available to analyze and “read” both documentary and popular visual materials such as photographs, television, and film. The class drew directly from the methodology that I use in my own work, and while we did study other cities, Atlanta was the main focus of the class. It was rewarding to see students develop the critical skills necessary to look at visual materials and begin to realize that photographs and films are not innocuous materials but serve an agenda to shape perceptions about race and the city.
What recent or forthcoming publications are you excited about, either of your own or from other scholars?
While it is not a publication, I am also looking forward to the 2018 release of documentary about the East Lake Meadows housing project in Atlanta by Ken Burns and his team. They seem to be taking a very balanced approach in telling the history of the program and the story of East Lake’s redevelopment. I know that they have gone to great lengths to find and interview former residents. I also had the honor of being interviewed for the film, so that certainly adds to my excitement about its release!
What advice do you have for young scholars preparing themselves for a career related to urban history or urban studies?
I would encourage them to attend the Urban History Association Conference! The conference draws scholars who are doing such interesting and important work. It is a great way to get a sense for all of the possibilities that exist in the field. Not only should they attend the conference, attend paper sessions, and present their own work, but I would urge them to make an effort to meet people – both senior scholars and their peers from other universities. As a grad student, I was admittedly nervous and hesitant to approach scholars whose work I had read and admired. Yet, once I began to talk with people, I found them to be very approachable and genuinely interested in talking to me about their work and my work. Since my first urban history conference five years ago, I have had the opportunity to get to know a number of people in the organization. They have provided me with great advice and support in terms of my research and career, and I now look to them as mentors. I also look forward to seeing my “conference friends” – people I’ve gotten to know who are at similar stages of their careers to me. It’s always great to have a chance to catch up and encourage one another. Because I hope to have a career in this field, these are people that I will see and work with for years to come.
What is one of the most unique or unusual visual representations of public housing that you have used as a source in your study?
I would have to say that the music video for Outkast’s “B.O.B (Bombs Over Baghdad)” is one of the most unique visual representation I have used in my work. In the video, Outkast’s Andre 3000 stumbles out of an apartment in the now-demolished Bowen Homes housing project in Atlanta. Instead of the drab brick buildings and poorly landscaped grounds that existed when the video was filmed, he’s surrounded by psychedelic purple grass and trees, bright yellow sidewalks, and neon green roads. Whereas so many images from this time period are focused on despair and the failure of the program, the vivid colors of the video combined with the fast tempo of the hip hop music offer an image of Atlanta’s public housing that was very different from the dominant narrative being circulated when the album was released in 2000. The music video offers the view of an alternate future and different possibilities for public housing residents by invoking Afrofuturism. It was a valuable perspective and important message that was not coming from anywhere else during this time period. I love that my interdisciplinary approach to urban history means that hip-hop videos and traditional archival sources each have a place in my work.
On February 7, 2017, the Los Angeles City Council ruled against colleagues on the Cultural Heritage Commission. After a lengthy and emotional public comment period, the Council decided not to designate Parker Center, the longtime headquarters of the Los Angeles Police Department, a local historic monument. The following month, the Council approved a new master plan for the Civic Center that included a 27-story tower on the Parker Center site. These decisions ended years of wrangling by preservationists, neighbors and city leaders about the future of the building.
Built in 1955, the police department abandoned Parker Center 54 years later when a new headquarters was constructed a few blocks away. The site’s large size and proximity to City Hall made it a target for redevelopment and many city leaders supported demolition of the “outdated” and “inefficient” building. The city’s goal for the site was to consolidate departments scattered around the downtown area and to reduce the amount spent on leased space.
Parker Center may have been bright and shiny when originally built, but its construction and the legacy of its namesake cast a long shadow over the preservation debate. The building was a complicated symbol for Los Angeles; representing the problematic history of the LAPD and the loss of a significant portion of the Japanese neighborhood of Little Tokyo. The fight to preserve it had divided allies and pitted communities that usually worked together against each other.
Parker Center as Scar
Preservation documents prepared for the Cultural Heritage Commission briefly mention the buildings that occupied the Parker Center site before its construction. The reports described the area simply as “residential with small clusters of commercial and industrial enterprises.” Newspapers from the period gave a slightly fuller view, suggesting that the number of buildings removed to accommodate Parker Center was “enough to meet the business needs of a good-sized city, among them landmark structures that were notable in Los Angeles’ pre-metropolitan days.”
Parker Center occupies some of the oldest blocks in Los Angeles. In the 19th century, the land was used for cattle and planted with grape vines. As the city urbanized, the neighborhood was settled by a racially and ethnically diverse mix of African American, Jewish, Irish, German and Chinese newcomers. After 1900, Japanese families established businesses along First Street and by 1920, the area was the “undisputed center” of Southern California’s Japanese community. Twenty years later, on the eve of World War II, approximately 35,000 Japanese and Japanese Americans lived and worked in what had become known as Little Tokyo.
In 1942, President Franklin D. Roosevelt signed Executive Order 9066 and the Japanese community of Los Angeles was forcibly removed. They were released from the internment camps three years later and returned to the city. In the years they were gone, Little Tokyo had become home to thousands of African American migrants who were drawn to Los Angeles’ industrial jobs. After the war, Japanese Americans began to re-establish businesses in the area. However, in 1948 the city council identified the heart of Little Tokyo as the location for the new police headquarters. The area bounded by First Street, San Pedro, Market Street and Los Angeles Street was designated part of the Los Angeles Civic Center and the City Attorney’s office began to acquire property through eminent domain proceedings. Forty-three individual parcels were condemned and the site was cleared.
Designed by Welton Becket and Associates, in collaboration with architect J.E. Stanton and landscape architect Ralph E. Cornell, the new “Police Facilities Building” was nationally recognized when it opened in 1955. Like many of his other projects, the building represented the architect’s commitment to the idea of Los Angeles as a “city of tomorrow.” For the LAPD, Becket created an 8-story International style building with crisp right angles and spare detailing. Sitting away from the street, the landscape that initially surrounded the building occupied an entire city block with sprawling lawns, decorative river rock and gardens inspired by a Japanese Zen aesthetic. The design received an Award of Merit from the AIA in 1956 and a contemporary review suggested that the building represented a “brand-new design category” of centralized public facilities. Drawings were displayed by the Architectural League of New York and the building was entered in the League’s 61st National Gold Medal Exhibition of the Building Arts in 1960. Becket’s success with the Police Facilities Building earned the firm additional commissions in the Los Angeles Civic Center, including the Federal Building next door and the various buildings for the Music Center on the top of Bunker Hill completed in the 1960s.
While acknowledged as an architectural icon, city staffers received numerous letters against preserving Parker Center. More than 3,000 African Americans had been displaced by the condemnation proceedings of the 1940s, and yet most letters recalled the losses of the Japanese American community. Letter writers described a pre-war world of rich familial and social connections. They talked about shopping in stores now demolished and included family photos with smiling siblings and relations in front of restaurants and small businesses. The letters also told stories of grandfathers who participated in sumo wrestling at a dohyo on the block and uncles who founded the still extant Rafu Shimpo Newspaper in a building on the corner of First and Los Angeles Street.
For many Japanese Americans, saving Parker Center meant preserving a scar. It was a reminder of years of disconnection and “mass displacement.” The building’s presence in the neighborhood inspired anger. In his comments before the Planning and Land Use Commission, Chris Komai of the Little Tokyo Community Council suggested that the building represented an “unfair seizure.” He went on to say that while its architecture might be admired, the LAPD building had cut Little Tokyo off from the Civic Center and the rest of the city, “Look at it. All we see is its back.” Kanji Sahara, another opponent of preservation, spoke for many when he told the commission, “the city said they needed the land for a ‘public purpose’ – to build Parker Center. Now that the public purpose has gone away, the Japanese people want that land back”.
In arguing against preservation, some letter writers found themselves in an uncomfortable position, noting that they would normally be on the side of those trying to save a building. The break with the Los Angeles Conservancy was particularly difficult. The Conservancy was a strong and vocal supporter of the Little Tokyo National Register District that protected several blocks of the neighborhood’s early commercial core. More strategically, the Conservancy was an essential and necessary ally. Due to gentrification pressures, local landowners had begun to sell older properties to developers and there were concerns that Little Tokyo would not “survive”. While Parker Center was an issue, local leaders still considered preservation to be an important tool to control growth.
The Historic American Landscape Survey for Parker Center prepared by the city’s Department of Public Works emphasized the building’s architectural legacy and defended the structure using the technical language of preservation. The report had not addressed the site’s previous Japanese and Japanese American users. The documents also failed to acknowledge issues important to other communities of color in Los Angeles. While innovation described the structure, social conservatism defined the LAPD that filled the offices.
Chief Parker Divides the City
Early Parker Center preservation documents described the Los Angeles Police Department in glowing terms. Later comments by staff of the Cultural Heritage Commission suggested that the department’s legacy among Los Angeles’ non-white communities was “complicated.” The Los Angeles Conservancy acknowledged that the building was named for the “controversial” Chief William H. Parker. All three sources credit Chief Parker for professionalizing the department, however the abuses of power that accompanied this professionalization are hard to ignore.
William Parker joined the Los Angeles Police Department in 1927. He became its leader in August 1950 and served in this capacity until his death in 1966. During his tenure, Parker established strict new standards for the recruitment and training of officers. According to the Historic American Landscape Survey, Parker was a “policeman’s policeman.” He “inspired in all who served the department the higher ideals of service and justice, as well as a new sense of pride, professionalism and self-discipline.” The Chief’s efforts in this area earned him a national reputation that he capitalized on through his friendship with the actor Jack Webb, who played Sgt. Joe Friday in the 1960s television show, Dragnet.
While he may have inspired the department’s rank and file, in private Chief Parker was an impatient and ambitious man. He was also quick to attack. Like a “horse charging toward the apocalypse of our times”, Parker was critical of anyone who disagreed with his strict law and order prescription for society.  He resisted political oversight of the LAPD and attempted to undermine the credibility of his detractors. According to Parker, only the “criminal, the Communist and the self-appointed defender of civil liberties” called for restrictions on police authority. Parker’s impatience was accompanied by a sustained and irrational paranoia. He attributed his failures to local democrats, the Truman administration and to communist sympathizers who he imagined had personal vendettas against him. To balance the scales, Parker created a “mysterious and highly secret” intelligence gathering unit within the LAPD that reported directly to him. The group served as his personal “Pretorian guard” and, before it was disbanded by court order, the unit had amassed thousands of records on 5×8 note cards. The files contained data on known criminals, as well as political and public figures.
Parker coined the term, the “thin blue line” to describe the police as an institution that stood between “civilization and barbarism”. However, Parker’s LAPD was capable of its own brand of barbarity. Records from the department’s Internal Affairs Division show that in 1951 alone, the police received 848 complaints of brutality. Internal investigations substantiated 298 of these complaints and yet just 10 officers faced disciplinary action. Only two officers were removed from the force due to the complaints.
Newspapers frequently reported incidences of police violence while Parker was in command. Patrolmen fired their weapons at a doctor in East Los Angeles who had apparently failed to yield because he was rushing to the bedside of a sick child. A local bus driver was hospitalized after officers attempted to “subdue” him during an arrest. Among other injuries, the driver sustained a blow that ruptured his bladder. A shoemaker was approached in his car by two plain clothed officers with their weapons drawn. The officers pulled the man from the car, threw him to the ground and repeatedly kicked his head. The man was taken to the hospital and later informed that the officers had mistaken him for a suspect.
On Christmas Day 1951, seven young men were arrested on misdemeanor charges and taken to the city jail where they were savagely beaten for hours by somewhere between 15 and 50 police officers. When the incident came to light, Parker claimed to be “vigorously” pursuing an internal investigation. However, the allegations against officers were so appalling that they could not be contained. A judge ordered a grand jury and public inquest. During the hearings, police officials were asked to describe the night. According to the judge, their testimony stunk, “to high heaven and all of the perfumery in Arabia cannot obliterate its stench.” Thirty-six officers were disciplined by the LAPD, while 8 others were indicted for assault with a deadly weapon. Of the eight, five officers were found guilty and sentenced to either one or two years in the Los Angeles County Jail.
Despite public commitments to reform, the brutality continued. In 1959, Herbert Greenwood, the only African American Police Commissioner, resigned citing the “unhealthy attitudes” of the LAPD leadership regarding race. Then, on a hot August night in 1965, Marquette Frye was arrested in Watts for suspicion of driving drunk. During his arrest, Frye, his mother and brother fought with an officer of the California Highway Patrol. Hundreds of residents were drawn to the scene and anger spread through the crowd. Frye’s arrest sparked six days of fighting, looting and rebellion during which thirty-four people were killed. Chief Parker saw this and other protests against the police as a personal attack. To Parker, it was the complaints, rather than the police, that were “wrecking” the LAPD. Over time, his lack of transparency and repugnant comments in the aftermath of Watts worsened relations with Los Angeles’ communities of color.
However, while Parker was unpopular for some, his strongman rhetoric was lionized by others. After his death, members of the City Council unanimously recommended that Becket’s Police Facilities Building and the ground on which it stands be named in his honor. The name change was enthusiastically supported by the city’s business elite and residents who described Parker as a “great American” and “champion of law and order.” The Sentinel, the city’s largest African-American newspaper, reported the Chief’s death, but remained silent on the issue of renaming police headquarters in his honor.
Parker was succeeded by new chiefs. However, relations between the police and Los Angeles’ communities of color did not improve and the lawn in front of Parker Center was the location of countless demonstrations against police misconduct. The issue became especially charged when Parker’s prodigy, Daryl Gates assumed the position of Chief. Gates, perhaps even more than Parker, became a symbol of the racism and prejudice that permeated the LAPD. Over the years, Parker’s thin blue line had become thicker. By 1992, it was an impassable chasm, so that when four LAPD officers were acquitted in the nighttime beating of an African American motorist on a lonely highway, the city exploded. Again.
The Police Department’s relationship with Los Angeles’ citizens of color was a quiet bass note that sounded throughout discussions about whether to save the building. Most African American leaders were silent on the issue, however a few voices sought to use and reinterpret this history by adaptively re-using Parker Center. Gail Kennard, an African American member of the city’s cultural heritage commission acknowledged that, “preserving Parker Center won’t resolve L.A.’s troubled policing history. But restored and reopened, it can remind us how far we’ve come and how much more there is to do.”
Future of the Parker Center Site
In retrospect, it is not surprising that the effort to preserve Parker Center failed. The Cultural Heritage Commission received a handful of lukewarm letters in support of preservation, but the fame of its architect could not overcome the building’s legacy of division. Parker Center sliced through the neighborhood that surrounded it, its namesake divided the city along racial and ethnic lines and the effort to save the building created rifts between the city’s preservation community.
Documents prepared by preservation planners articulated the building’s architectural value. They acknowledged Chief Parker’s problematic leadership but did not address the community that had been destroyed for Parker Center to be built. Yet, it was this origin story that ultimately persuaded members of the city council to reject cultural monument status.
City Councilman Jose Huizar, who represents the Little Tokyo district spoke during the final preservation hearing. He suggested that to save Parker Center “dismisses the injustices done to many communities.” Huizar, who as a young man had delivered papers for the Rafu Shimpo Newspaper, specifically connected the history of the Japanese in Los Angeles to his experiences of prejudice as an immigrant, “I did get a bit emotional in the committee when I was talking about the injustices to the Japanese-American community…It just kind of hit me what that would have been like for those residents. And I put that into the context of what is happening today.” The councilman’s testimony was persuasive and his colleagues unanimously denied the motion to designate Parker Center.
With demolition imminent, plans have been made to save a large sculpture that was attached to Parker Center’s exterior façade and to reuse a tile mosaic that decorated the building’s foyer. No plans have yet emerged to memorialize the Chief. As Richard Barron, President of the Los Angeles Cultural Heritage Commission suggested, Parker Center is simply “not an easy building to love.”
Meredith Drake Reitan is an Associate Dean in the Graduate School and Lecturer in the Price School of Public Policy at the University of Southern California. Her work has been published in the Journal of Planning History, the Journal of Urban Design, the Journal of Architectural and Planning Research and in Planning Los Angeles, an edited volume for Planners Press. She writes for KCET’s Lost LA and has a blog, called the LAvenuesProject, that uses the thousands of mundane decisions that define the look and feel of LA streets to talk about the long history of the city as a planned environment.
Acknowledgements: The author wishes to thank Emily Gersema and Hillary Jenks for their comments and feedback on early drafts of this post.
 City of Los Angeles Council. Information Technology and General Services Commission. Motion 2/17/2006
 Foote, Kenneth Shadowed Ground: America’s Landscapes of Violence and Tragedy. University of Texas Press 1997, Austin
 Cohan, Charles “City to Erect Two Modern Structures: Large Area East of the City Hall Being Cleared for Projects” Los Angeles Times Sep 3, 1950; pg. E1
 Wild, Mark. Street Meeting: Multiethnic Neighborhoods in Early Twentieth Century Los Angeles, University of California Press, 2005, Berkeley; Jenks, Hillary. Home Is Little Tokyo”: Race, Community, and Memory in Twentieth-Century Los Angeles. Dissertation. University of Southern California, Los Angeles. ProQuest/UMI, 2008.
 __________ “Council Fixes Sites of Two New Buildings”, Los Angeles Times. Sep 21, 1948; pg. A7
 __________ “Police Building Wins Place at N.Y. Exhibit” Los Angeles Times. Sep 27, 1959, pg. F10
 City of Los Angeles, Planning and Land Use Committee. Correspondence from Alan Kumamoto 2/17/2017, Chris Komai, 2/7/2017, Nancy Kyoko Oda 2/6/2017, Yukio Kawaratani no date, Joanne Kumamoto 11/28/2016 and Jonathan Takeo Tanaka, 2/7/2017.
 Komai, Chris. Statement before the City of Los Angeles, Planning and Land Use Management Committee Meeting. February 7, 2017
 Sahara, Kanji Emailed communication to City of Los Angeles, Planning and Land Use Management Committee. February 17, 2017
 Tsukada Simonian, Irene. Letter to City of Los Angeles, Cultural Heritage Commission. January 10, 2017
 A light rail station has recently been erected in Little Tokyo and another is in the works. Several buildings were demolished to make way for these stations and the area is seeing increased land speculation. See Lue, Ryan. “Can Little Tokyo Survive the Growth of Downtown LA?” Planetizen. April 12, 2012. https://www.planetizen.com/node/56145
 Hertel, Howard and Berman, Art. “Thousands Mourn at Funeral Rites for Chief Parker” Los Angeles Times; Jul 21, 1966. pg. 1
 Webb, Jack. The Badge. Prentice Hall Engelwood Cliffs NJ. 1958
 Blanchard, Robert “Democratic Leader Raps Chief Parker” Los Angeles Times May 23, 1956; pg. 1
 Buntin, John. “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City” Three Rivers Press 2009, New York
 Fogelson, Robert. “Big City Police: An Urban Institute Study” Harvard University Press 1977. Boston, MA;
 __________ “FBI Probing L.A. Police Brutality: Grand Jury Attention Indicated; Department Pushes Own Inquiry” Los Angeles Times, Mar 14, 1952; pg. 2
 __________ “Chief Parker Hits Brutality Stories: Unsubstantiated Complaints” Los Angeles Times. Feb 28, 1952, pg. 7
 __________ “Parker Hits at Charge of Brutality: Prisoner’s Claim Unfounded, Says Chief of Police” Los Angeles Times Jun 24, 1952; pg. 2
 __________ “$125,000 Suit Accuses Police of Brutality” Los Angeles Times Jan 28, 1958; pg. 5
 __________ “Judge Urges Jury Inquiry on Brutality” Los Angeles Times Mar 13, 1952, pg. 1
 __________ “Judge Urges Jury Inquiry on Brutality” Los Angeles Times Mar 13, 1952, pg. 1
 __________ “36 L.A. Policemen to Face Discipline for Brutality” Los Angeles Times, Jun 17, 1952; pg. 1
 __________ “Police Board Member Flays Parker, Quits” Los Angeles Times Jun 19, 1959, pg. 1
 __________ “Chief Parker Hits Brutality Stories: Unsubstantiated Complaints” Los Angeles Times. Feb 28, 1952, pg. 7
 Fogelson, Robert. “Big City Police: An Urban Institute Study” Harvard University Press 1977. Boston, MA; Buntin, John. “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City” Three Rivers Press 2009, New York; Shaw, David. “Chief Parker Molded LAPD Image–Then Came the ’60s” Los Angeles Times May 25, 1992
 Mrs. Luther Liebenow. Letter to Mayor Yorty, August 16, 1966; Calvin E. Orr. Letter to Mayor Yorty. July 17, 1965. Los Angeles City Archives and Records Center. Box CC-01-1989, A-1989