>> MY NAME IS SARA LYN.

A COVER ARTS AND ENTERTAINMENT FOR SAN LUIS OBISPO.

NOT ONLY IS HE A COMPOSER, HE IS ALSO AN INSTRUMENTALIST.

HE HAS BEEN PROBABLY HIS ENTIRE CAREER STUDYING WHAT IT WOULD SOUND LIKE IF YOU WALKED INTO A CALIFORNIA MISSION IN THE YEAR 1785.

FOR CRAIG, THE FANDANGO IS KIND OF WHAT EVERYTHING ABOUT LIVING IN A MISSION MEANS.

HE SAID TO ME THAT IT IS A MUSICAL EQUIVALENT OF ALL MEN ARE CREATED EQUAL.

THE ONE DANCE THAT EVERYBODY IN THE ENTIRE MISSION COMMUNITY WOULD PARTICIPATE IN, YOU HAD NATIVE PEOPLES, YOU HAD SOLDIERS.

THE PADRE'S WOULD HAVE BEEN THERE, MAYBE NOT PARTICIPATING, BUT AT LEAST IN JOINING A GLASS OF WINE.

A LOT OF OUR COMMUNITIES IN CALIFORNIA ARE BASED AROUND MISSIONS, WHETHER WE RECOGNIZE THAT NOT.

FOR THE EARLY CALIFORNIANS, IT MET PEOPLE FROM DIFFERENT CULTURES COMING TOGETHER AND STARTING A NEW CULTURE AND NEW COMMUNITY.

I FEEL THAT CRAIG, BY WRITING THIS MUSIC CAN BRING IT TO THE PUBLIC, IS TRYING TO REMIND US THAT THE WEST THIS HUGELY FORMATIVE.

IN CALIFORNIA HISTORY.

IT HAS KIND OF BEEN FORGOTTEN TODAY.

♪ ♪ >> THE PEOPLE ORIGINATED IN THIS AREA FROM THE LAST ICE AGE.

WE LIVED IN AN EXTRAORDINARY HARMONY THAT EMANATED FROM COLTER'S PASSED FROM ONE GENERATION TO THE NEXT GENERATION TO THE NEXT GENERATION.

WE WERE A NOMADIC TRIBE, WE WANDERED IN OUR AREA IN THIS BEAUTIFUL WEATHER AND SURVIVED THAT WAY FOR THOUSANDS AND THOUSANDS OF YEARS.

WE HAD AN INTERRUPTION FROM OTHER CIVILIZATIONS THAT APPEARED ON OUR HORIZON.

WHAT CHANGED OUR CULTURE, WHY WERE WE NEEDING TO ADAPT JUST IN ORDER TO SURVIVE?

THE FRANCISCAN MISSIONARIES WHO CAME TO CALIFORNIA IN THE SUMMER OF 1769 OR NOT PREPARED TO DEAL WITH ENCOUNTERING THE NATIVE AMERICANS OF CALIFORNIA, WHO WERE A TRULY REMARKABLE, VERY SELF-SUFFICIENT PEOPLE.

IN EFFECT, THE PADRES WERE INTRUDERS IN THEIR MIDST, AND THEY REALIZED THAT THEY HAD TO REACH THE PEOPLE ON A CERTAIN LEVEL.

THIS IS WHERE MISSION MUSIC AND MISSION ART COMES TOGETHER.

>> DURING THE MISSION PERIOD, MUSIC WAS A LURE.

THE COMMON LANGUAGE WAS MUSIC, SO WHEN A FRIAR CAME AND INVITED YOU TO SING, IT WAS A SIGN OF RESPECT.

THOSE TWO CULTURES AT THAT POINT RESONATED BECAUSE THEY UNDERSTOOD THAT MUSIC WAS IMPORTANT AND THEY WERE EMBARKING ON THE SAME JOURNEY TO ELEVATE THE CREATOR.

>> WHEN THIS MISSION WAS FOUNDED IN 1772 AND THE ENSUING DECADES, YOU WOULD SEE MOSTLY CALIFORNIANS, INDIGENOUS FIRST NATIONS PEOPLE HERE IN OUR CHURCH.

THERE WERE SEVERAL SOURCE STYLES OF MUSIC.

>> ONE PRINCIPLE EXPERIENCE OF EUROPEAN MUSIC INTO CALIFORNIA, INITIALLY AS A RELIGIOUS EXPERIENCE, BUT IT INVARIABLY BECOMES A SOCIAL EXPERIENCE ALSO.

SO IS NOT A GREAT LEAP FROM THE SACRED MUSIC OF THE CHURCH PERFORMED IN ALMOST A STRICTLY EUROPEAN STYLE, AS IT GRADUALLY ADAPTS AND CHANGES ITSELF TO THE POPULAR MUSIC OF THE LARGER COMMUNITY.

AND IT MOVES FROM THE SACRED TO THE FANDANGO, TO THE OVERWHELMING JOY OF THE SOCIAL CELEBRATION WITH MUSIC, WHICH HAPPENED RIGHT HERE IN THIS MISSION GARDEN AND IN EVERY OTHER MISSION GARDEN.

♪ >> OF ALL THE REPERTOIRE IN THE CALIFORNIA MISSION PERIOD OF THE GREAT THING WOULD HAVE BEEN THE FANDANGO.

BASICALLY, ANYONE CAN DANCE THE FANDANGO.

YOU COULD BE THE KING, YOU COULD BE A DUKE, YOU COULD BE FOR MEXICO.

YOU ARE WELCOME TO DANCE THE FANDANGO.

IT WAS ANOTHER ILLUSTRATION OF THE QUALITY OF CALIFORNIA AND THE DANCING SPIRIT OUTSIDE THE MISSION, WHICH WAS A REPLICATION OF LIFE IN THE MISSION.

>> I UNDERSTAND THE FANDANGO WAS WHEN OUR NATIVE AMERICAN YOUNG MAIDENS WERE BROUGHT OUT TO THE YOUNG SOLDIERS.

MY LINEAGE IS FROM THE VERY FIRST RECORDED MARRIAGE IN CALIFORNIA.

SHE WAS A FULL BLOODED SALINA WHO MARRIED A YOUNG, TEENAGED SPANISH SOLDIER.

>> WHEN YOU LOOK AT TREATISES AND LETTERS OF THE TIME, THEY ALL TALK ABOUT THE PASSION AND FERVOR OF THE FANDANGO.

IT BUILDS IN EXCITEMENT AND EXCITEMENT.

>> THIS IDEA THAT MUSIC UNITES US IS A VERY IMPORTANT THEME.

IT REASSURES US.

IT TELLS US THERE IS SOMETHING BEYOND WHERE WE ARE AT THIS PARTICULAR MOMENT.

MUSIC WILL TELL US THAT THERE IS STILL HOPE.

THERE ARE ASPIRATIONS.

THAT WAS TRANSLATED BY THE PADRES.

THEY THOUGHT IT WAS A WONDERFUL TOOL THAT SAYS THERE IS MORE THAN JUST LIVING, DOING WHAT YOU ARE DOING NOW.

YOU CAN HOPE FOR SOMETHING BETTER IN THE FUTURE.

♪ ♪ >> I'M OLIVER WAYNE.

I AM AN ASSOCIATE PROFESSOR OF SOCIOLOGY AT CAL STATE LONG BEACH.

I ALSO WRITE ABOUT ART AND CULTURE FROM THE MID-1990'S.

THE THING ABOUT MIKE'S WORK THAT FIRST REALLY STRUCK ME WAS THE FACT THAT HE WAS IN THE RIGHT PLACE IN THE RIGHT TIME DURING THE FORMATIVE AREA IN WEST COAST HIP-HOP.

MOST RECORD LEVELS OF ARTIST TEND TO WANT TO WORK WITH THE SAME PEOPLE SO YOU SEE THE NAMES ON MULTIPLE ALBUMS.

AT THE TIME IN WHICH HE IS SHOOTING, THIS IS L.A.

COMING RIGHT BEFORE THE RIOTS, BUT OUT OF THE ABANDONMENT OF THE 1980'S, THE INDUSTRIALIZATION OF LOS ANGELES.

WHAT YOU SEE IN HIS BOOK IS THE MOMENTS LEADING UP TO THAT ARE MOMENTS OF TENSION, MOMENTS OF FRICTION THAT EXIST WITHIN THE CITY.

WHETHER IT WAS INTENTIONAL OR NOT, THAT IS REFLECTED, TO SOME EXTENT, IN THOSE PHOTOGRAPHS.

♪ ♪ >> I HAVE A PRESENCE.

I GIVE RESPECT, I GET RESPECT.

I WILL PUSH YOU AND PUSH YOU, AND I CAN BE A LITTLE BIT ANXIOUS, BUT ANXIOUS AND THAT NERVOUS ENERGY HELPS ME GET THESE IMAGES.

♪ >> THE FIRST TIME I PICKED UP A CAMERA WAS IN MY COUSINS BACKYARD.

WE HAD A TRANSITION ROUND AND MY UNCLE TOOK PHOTOS AND WE CALL THEM BLOWN PHOTOS BECAUSE HE ALWAYS MISSED.

ONE TIME I PICKED UP THE CAMERA AND TOOK PHOTOS.

I REMEMBER HIM SAYING YOU HAVE AMPLITUDE AND ALTITUDE.

USAGE SHOOT.

WHEN I CAME BACK TO THE STATES, AND KNOCKED ON A FEW DOORS AND ONE AGENCY PUT ME ON IN 1989.

THEN I STARTED GETTING LETTERS FROM THE MUSIC LABELS, THAT THIS GUY IS AMAZING, WE ARE GOING TO USE HIM.

WE ARE GOING TO PRINT THIS TODAY.

TWO MONTHS LATER, A GUY WHO WAS THE RECORD COLLECTOR TOLD ME TO COME OVER.

WE ENDED UP TALKING ABOUT A NEW THING DEVELOPING CALLED CYPRESS HILL.

I WENT AND HUNG OUT WITH ALL THOSE GUYS DOWN THERE AND THEN IT JUST SNOWBALLED INTO A CAREER IN HIP-HOP.

>> MIKE'S ROLE IN SHAPING THE AESTHETIC, THE VISION OF WHAT WEST COAST HIP-HOP LOOK LIKE IN THE 1980'S AND 1990'S.

>> IS SOMETHING THAT HAS BECOME ICONIC IN THE WAY WE THINK ABOUT WEST COAST HIP HOP.

THE AESTHETIC IS ONE OF ABANDONMENT.

THERE ARE VISIONS OF DECREPITUDE.

BURN OUT TRAIN NJORD'S, -- TRAIN YARDS, I THINK HIS PHOTOGRAPHY FED OUT OF BED AND FED INTO IT, BOTH WAYS.

-- FED OUT OF IT AND FED INTO IT.

>> THIS IS BACK WHEN HE FIRST LEFT NWA WITH THE JERI-CURL.

THIS IS L.A.

RIGHT HERE.

>> I WAS IN LOVE WITH NWA'S FIRST ALBUM.

I MUST HAVE PLAYED IT HUNDREDS OF TIMES.

I WAS A LITTLE NERVOUS, BUT I WAS JUST SO STOKED TO BE IN THE PRESENCE OF SUCH AN ICONIC RAPPER.

AS FAR AS THIS SHOT GOES, I JUST WALKED AROUND THE NEIGHBORHOOD AND I SAW A GIGANTIC FLAG IN A PARKING LOT.

THAT WAS IT.

I WOULD JUST COME UP WITH IDEAS AND MAKE THEM WORK.

THAT IS ONE OF MY FAVORITE SHOTS I HAVE EVER TAKEN.

THE WC IN THE MAD CIRCLE ALBUM.

THERE'S SOMETHING VERY GRITTY ABOUT THAT.

>> WE ENDED UP BEFRIENDING THE GUY WHO RAN THE ALLEY.

WE WENT DOWN THE NEXT DAY AND EVERYBODY POSED FOR THE SHOT.

THE GUY IN THE MIDDLE IS THE GUY WHO GAVE US LITTLE HASSLE BEFORE WE GOT THE OK.. I WAS ABLE TO CAPTURE THAT ROUGH STYLE.

>> THIS IS ONE OF MY FAVORITE PRINCE.

-- PRINTS.

YOU CAN SEE HIS FINGERNAIL POLISH.

IT WOULD BE LIKE ONE FRAME I GOT.

I GOT THREE FRAMES ON THIS ONE.

EVERYTHING GRAVITATES TO THIS SHOT.

I GREW UP WITH THAT.

I HAD POSTERS OF THAT.

>> WHAT YOU SEE IN MIKE'S PHOTOGRAPHY OF TUPAC IS THE REMARKABLE CHARM AND CHARISMA THAT HE HAD.

>> WE WERE OUT IN THE FAMILY'S FRONT YARD AND TAKING PHOTOS ON THIS OLD BUILDING WHERE HE IS DOING THE FLIP OFF AS WELL.

THAT BOOK IS AMAZING, FOR ME TO JUST GO BACK AND REFLECT ON ALL THE GREAT SHOOTS I HAD.

♪ >> I AM AN ARTIST AND WRITER.

I FIRST ENCOUNTERED THEM WHEN THEY WERE DOING A FRUIT JAM AND THEY HAD TAKEN THE PRACTICE FROM OUT OF THE GALLERY SPACE AND INTO THE STREET, AND THEY WERE MAKING JAM.

THEN I DISCOVERED THERE FRUIT MAPS.

IT IS THE THIN END OF THE WEDGE, IN POLICY TERMS.

PUBLICLY ACCESSIBLE, PUBLICLY TENDED FRUIT, INTO A PUBLIC PARK.

THAT IS SOMETHING THAT HAD NOT BEEN DONE BEFORE.

THIS IS JUST A LITTLE INSERTION TO HAVE EVERYONE BE THINKING ABOUT ART AND PARKS AND PEOPLE AND FOOD IN A DIFFERENT WAY.

BECAUSE WHAT THEY ARE SAYING IS NOT, WE HAVE TO STRIVE HARDER, WE HAVE TO RUN FASTER, WE HAVE TO FIGHT HARDER, BECAUSE THERE IS NOT ENOUGH.

THEY ARE SAYING THERE'S ENOUGH, THERE IS ABUNDANCE.

WE HAD ENOUGH TO SHARE AND GIVE AND NOT WORRY ABOUT PROTECTING OUR LITTLE CORNER.

I AM HOPING THAT THIS WILL RESONATE AND THERE WILL BE MORE AND MORE CHANGES AND THE WEDGE WILL DRIVE BEEN FURTHER, AND ULTIMATELY WE WILL HAVE A CITY WHERE THERE IS PUBLIC FRUIT AND PUBLIC SALARY AND PUBLIC CAULIFLOWER IN ALL OF THEIR UNUSED SPACES.

♪ >> FILL UP MY BAG.

FILL IT UP.

>> IT IS INCREDIBLE.

>> FRUIT BECAME OPERATIVE SYMBOL VERY QUICKLY.

ONCE WE STARTED LOOKING AT IT, WE REALIZED WE HAD THIS AMAZING THING.

THERE IS MY FRUIT.

THIS PIECE OF FRUIT IS ALMOST A POSITIVE SYMBOL ALWAYS.

IT IS A UNIVERSAL CURRENCY AMONG DIFFERENT KINDS OF PEOPLE FOR GENERATIONS.

DIFFERENT CULTURES, DIFFERENT HISTORICAL PERIODS.

>> THERE ARE AMAZING ORANGES AROUND THE CORNER THERE.

WE LOOKED AT OUR OWN NEIGHBORHOOD IN LOS ANGELES AND THOUGHT ABOUT THE FRUIT TREES, THE FRUITS BEING UNPICK IN THE MARGINS OF PUBLIC SPACE.

NOBODY WAS WALKING IN THE NEIGHBORHOOD.

YOU WOULD GET IN YOUR CAR AND DRIVE THREE BLOCKS TO THE GROCERY STORE TO GET AN APPLE OR AN ORANGE.

>> WE MADE A MAP AND WROTE A MANIFESTO POSTING SOME REALLY GREAT PHOTOGRAPHS OF US PEEKING THROUGH.

THE RESULT OF THAT DOCUMENT WAS THE BEGINNING OF FALLEN FRUIT.

FALLEN THROUGH IS AN ART COLLECTIVE, WHERE WE LOOKED AT FRUIT AND WE USE FRUIT AS A MATERIAL BY WHICH WE CAN AGREE IMAGINE THE WORLD AROUND US.

WE THINK OF FRUIT TREES AS GUARDIANS OF THE CITY IN A DIFFERENT WAY.

THEY ARE SOMETHING THAT ALWAYS PROVIDE A SYMBOL OF GENEROSITY AND A SENSE OF AESTHETIC, A SENSE OF WARMTH AND COMMUNITY, WITHOUT ASKING FOR ANYTHING BACK.

>> WE BECAME VERY INTERESTED IN THE OBJECTS WE FOUND.

VERY QUICKLY WE STARTED CALLING IT PUBLIC FRUIT.

WHO DOES THE FRUIT GROWING IN PUBLIC SPACES BELONG TO?

A LOT OF OUR WORK HAS WORKED BETWEEN THOSE TWO POLES, THE ACTUAL FRUIT AND THE PEOPLE WHO USE IT.

>> ONE OF THE THINGS THAT IS INTERESTING ABOUT FRUIT TREES IN PUBLIC SPACES THAT THE EXISTING PRETTY MUCH EVERY CITY IN THE WORLD, AND THEY ARE ALWAYS ON THE EDGE OF LEGALITY.

THEY ARE IN A GRAY ZONE OF LAW IN MOST CITIES.

THERE ARE ONLY A FEW CITIES IN AMERICA THAT HAVE IT LEGAL.

GUADALAJARA AND MEXICO, AND SAN FRANCISCO.

>> I REALLY THINK THAT WE SHOULD OPEN OUR MINDS TO THE IDEA THAT FRUIT TREES COULD BE BENEFICIAL.

INSTEAD OF GOING THROUGH A DRIVE THROUGH AND GETTING FRENCH FRIES, WHY NOT DRIVE BY A FRUIT TREE AND GET A DELICIOUS TANGERINE?

IT IS BETTER FOR YOU.

YOU COULD GET ONE FOR YOUR FRIEND, TOO, AND IS FREE.

>> WHERE FRUIT IS PICKED ON PUBLIC SIDEWALKS, ON PUBLIC RIGHTS OF WAY, THERE IS A CERTAIN AMBIGUITY AS TO WHOSE PROPERTY, IN FACT, THIS IS.

WHILE THERE IS THE GENERAL UNDERSTANDING THAT YOU CAN SIMPLY PICK FRUIT THAT OVERHANGS THE SIDEWALK, IT IS NOT QUITE THAT CLEAR.

THAT SAID, I DON'T THINK LANDOWNERS' NEED TO FEAR THERE WILL BE ROVING BANDS OF FRUIT GANGS THAT WILL BE TAKING OVER HANGING FRUIT, BUT IT IS AN INTERESTING ASPECT OF WHAT FALLEN FRUIT IS DOING.

>> IS IT POSSIBLE TO START CREATING OPPORTUNITIES THAT TRANSFORMED POLICY, THAT CHANGE THE EXPERIENCE OF A PLACE BY RETHINKING WHAT IS LEGAL?

IS IT POSSIBLE TO CREATE A PUBLIC RESOURCE IN A PUBLIC PLACE THAT DOES NOT WANT ANYTHING BACK FROM THE PUBLIC?

WHAT IF IT WAS A PLACE THAT ALWAYS OFFER SOMETHING TO YOU JUST BECAUSE YOU ARE THERE?

>> THE L.A.

COUNTY ART COMMISSION APPROACHED US TO SUBMIT A PROPOSAL FOR THE BELLAIRE PARK.

THEY WANTED A PIECE OF ART AND THEY WANTED TO BE GREEN AND SERVE THE COMMUNITY.

WE HAD BEEN WORKING FOR MANY YEARS WITH THE IDEA OF MAKING THESE PUBLIC FRUIT ORCHARDS, EITHER USING LEFTOVER SPACE IN EXISTING PARK OR POSSIBLY LAND THAT HAS NOTHING ON IT IN THE CITY AND MAKING IT A PUBLIC PARK, MAKING IT ACCESSIBLE TO EVERYONE.

>> IT WILL -- IT INCORPORATES THE VALUES OF A COMMUNITY IN TO PUBLIC SPACES THAT WE CAN ENJOY IT FOR GENERATIONS TO COME.

WHILE IT IS A CONCEPTUAL PROJECT, IT IS ALSO A REALLY PRACTICAL PROJECT.

PEOPLE LIKE TO EAT FRUIT.

THEY LIKE TO MAKE JAM.

THEY LIKE TO COOPERATE WITH THEIR NEIGHBORS.

>> WE MAKE USING FRUIT AS A COMMON DENOMINATOR TO CHANGE THE WAY YOU THINK ABOUT THE WORLD.

>> IN THE 1930'S AND 1940'S, THERE WERE A LOT OF MASSIVE FEDERAL WORKS PROJECTS.

YOU HAD SINGLED PURSES -- SINGLE PURPOSE PROJECTS LIKE THE LOS ANGELES RIVER.

52 MILES OF CONCRETE.

NOW THEY ARE EVALUATING THE FUNCTIONALITY OF THE RIVER.

WE CAN HAVE ECONOMIC DEVELOPMENT.

PEOPLE ARE LOOKING AT PUBLIC SPACES IN THE SAME WAY.

>> THIS WAS A UNIQUE OPPORTUNITY BECAUSE IT WAS A SIGHT THAT ACTUALLY HAD INCLUDED IN PART OF THE RECONSTRUCTION OF THAT PARK PUTTING IN NEW TREES.

WE PROPOSED AND PROMOTE THE IDEA OF PLANTING FRUIT TREES IN THIS PARK, A FORM OF ART WORK.

WE WERE BASICALLY ABLE TO USE THE UNDERSTANDING THAT FRUIT TREES SIMPLY WERE THE MATERIAL BY WHICH WE ARE WORKING AS A ARTISTS.

WE DON'T MAKE SCULPTURE OR DO STAMPED CEMENT.

WE DON'T NEED TO HAVE A MURAL OR A TESTIMONIAL.

ALL WE REALLY NEED TO DO IS HAVE YOUR GANNETT, LIVING MATTER AS AN EXAMPLE, AND THE FRUIT TREES WOULD DO WHAT THEY NORMALLY DO, WHICH IS MAKE FRUIT.

>> ONE OF THE HURDLES FALLEN FRUIT HAD IN BEING PERMITTED TO DO THIS WORK WAS TO OVERCOME THE CONCERN THAT WORK RELATED TO FRUIT COULD FALL WITHIN THE AREA OF NUISANCE.

THERE WERE CONCERNS BY CITIES AND MUNICIPALITIES THAT IF THEY TAKE CERTAIN ACTIONS, THIS MAY MAKE A HAZARDOUS CONDITION MORE APPEALING, AND THEREFORE AN UNSUSPECTING CHILD OR EVEN ADULT COULD PUT THEMSELVES IN HARM'S WAY.

A CHILD COULD CLIMB A TREE TO PICK AN APPLE AND FALL.

WHETHER THAT WOULD HAPPEN, WHETHER THAT MAKES A FRUIT TREE ANY MORE DANGEROUS THAN ANOTHER TREE IS AN OPEN QUESTION, BUT IN OUR LITIGIOUS SOCIETY, WHERE ONE SUES AND CAN BE SUED FOR A GOOD REASON, A BAD REASON, OR NO REASON AT ALL.

IT IS A LEGITIMATE CONCERN.

>> YOU CAN GET AS ANGRY AS YOU WANT WITH A BANANA, AND THE BANANA WILL BE OKAY WITH THAT.

>> THE COUNTIES IN THE CITIES HAVE THEIR OWN REGULATIONS.

THERE IS ALWAYS A CREATIVE WAY TO CREATE OPPORTUNITIES IN PARKS.

>> IT IS AN ART FORM, AND EDUCATIONAL OPPORTUNITY, AND WHAT THEY ARE DOING IS ACTUALLY HELPING US TO TELL A STORY IN TERMS OF THE HEALTHY FOOD INITIATIVE IN THE STATE OF CALIFORNIA, WHICH IS FOCUSED NOW ON THE CHILDHOOD OBESITY EPIDEMIC.

HAVING GROUPS OUTSIDE OF STATE PARKS WHO HAVE EXPERTISE IN THAT AND TEACHING THINGS THROUGH ART IS A GREAT AVENUE TO ENGAGE LOCAL YOUTH.

WE THINK IT IS A TREMENDOUS OPPORTUNITY HERE IN LOS ANGELES.

>> THE IDEA OF THIS BREED APART IS MORE ABOUT GETTING PEOPLE TO THINK ABOUT -- THE IDEA OF THIS FRUIT PARK, IN GETTING PEOPLE TO THINK ABOUT THE ROLE FRUIT CAN AND SHOULD PLAY IN OUR ENVIRONMENT.

HERE WE ARE STRUGGLING WITH HEALTHY FOOD OPTIONS WHEN WE HAVE A SOLUTION RIGHT IN FRONT OF US AS A COMMUNITY.

WE COULD HAVE FRUIT TREES EVERYWHERE.

THE PARK IS NOT ONLY A PHYSICAL MANIFESTATION THAT I FEEL VERY CONFIDENT PEOPLE ARE GOING TO ENJOY FOR GENERATIONS TO COME, BUT IT IS CERTAINLY A WAY TO GET PEOPLE TO THINK ABOUT HOW TO ADDRESS HEALTHY FOOD OPTIONS IN OUR COMMUNITY.

>> I AM EXCITED THAT WE WERE ABLE TO WORK ON THIS PROJECT.

IT IS THE TRUE SPIRIT OF COLLABORATION.

IT TOOK THE DEPARTMENT OF WATER AND POWER, PARKS AND RECREATION, AS WELL AS THE NEIGHBORHOOD COUNCIL, THE PARKS STAFF AT THIS PARTICULAR LOCATION, TO ALL COME TOGETHER AND NEGOTIATE, NOT IN DOGMATIC TERMS, BUT TO REALLY COOPERATE AND FIND INSPIRATION IN EACH OTHER'S CHOICES AND IDEAS TO MOVE THIS WHOLE THING FORWARD.

♪ >> MY NAME IS HILLARY, AND THE PROJECT HAVE IS A COMMUNITY GENERATED PROJECT WHICH INVOLVES A SERIES OF EVENTS WHERE WE ARE GOING OUT TO PLACES IN SOUTHERN CALIFORNIA THAT ARE IN SOME WAY MILITARIZE.

WE ARE GOING TO THE 29 PALMS MARINE BASE TO GO AND LOOK OUT THESE PARK -- THESE CITIES MADE OUT OF VERY BASIC CONSTRUCTION.

THE MARINES DRESS THEM UP AND BRING IN ACTORS THAT ARE COSTUMED AND SO ON, SO THE MARINES GET THE SENSE THAT THEY ARE IN WHATEVER PLACE THEY ARE TRAINING TO GO.

WE ARE BRINGING PEOPLE THAT ARE INTERESTED IN THAT TYPE OF ENVIRONMENT AND INTERESTED IN DRAWING SO THAT AT THINK ABOUT THE SOUTHERN CALIFORNIA LANDSCAPE AS A PLACE THAT CAN HELP US UNDERSTAND SEEMINGLY REMOTE WARS.

>> THIS WAS THE MARINE CORPS IS FIRST ATTEMPT AT BUILDING A TRAINING CENTER HERE AT 29 PALMS.

THIS IS WHAT A SMALL VILLAGE WOULD LOOK LIKE.

THAT IS HOW CLOSE WE ARE TO LIVE FIRE.

WE CANNOT INTERFERE WITH TRAINING.

REMEMBER, THESE INDIVIDUALS ARE LEARNING STUFF AND REVERSING THINGS THAT ARE SUPPOSED TO SAVE THEIR LIVES.

I AM UNCOMFORTABLE WITH THE FACT THAT IF WE STOP THEM OR INTERFERE WITH THAT, WE COULD GET SOMEONE KILLED.

I WILL GIVE HISTORY, BACKGROUND.

PAINT, DRAW, TAKE PICTURES.

DOES ANYBODY HAVE QUESTIONS?

>> WHAT DOES DRAWING HAVE TO DO WITH UNDERSTANDING THIS PLACE?

THIS IS NOT A SENIOR TO OVERLOOK OR SOMETHING LIKE THAT.

>> THERE ARE PYROTECHNICS AND TRIPWIRE SET UP IN THE ENTIRE VILLAGE.

IF YOU HIT THE WIRE, IT GOES BOOM.

>> IF THAT IS THE CASE, WHAT WOULD YOU EVER LET US BE NEAR IT.

>> THE PEOPLE THAT JOIN ME WANT TO THINK AND DRAW AND CONTEMPLATE THOSE PLACES.

>> HOW CAN WE UNDERSTAND SOUTHERN CALIFORNIA LANDSCAPE AS A WAY OF RELATING TO WHAT IT FEELS LIKE TO BE IN A WAR ZONE SOMEWHERE ELSE?

29 PALMS MARINE BASE IS A GREAT PLACE TO DO THAT BECAUSE ALL THE MARINES GOING TO IRAQ WERE TRAINED IN THE SMALL VILLAGES THERE, AND NOW THEY ARE TRAINING TO GO TO AFGHANISTAN, A SIMILAR ENVIRONMENT.

>> I AM A LANDSCAPE ARCHITECT.

THE WAY IN WHICH WE RELATE TO THE LAND IS SOMETHING I AM JUST FINALLY INTERESTED IN.

TO BE HERE AND SEE IT AT THIS SCALE AND THE WAY -- THE ROLE IT PLAYS AS A TRAINING GROUND, THAT MAKES THIS THE PERFECT PLACE TO TRAIN FOR A 21ST CENTURY BATTLEFIELD.

>> I AM NOT REALLY SURE WHAT TO MAKE OF IT QUITE YET.

♪ >> THE SIMULATION CENTER, I DID NOT KNOW ANYTHING ABOUT WHAT THAT WAS GOING TO BE LIKE.

>> IT IS EASY TO BE IN THESE PLACES AND GET INTO ALL THE TRAINING, AND TO IMAGINE WHAT IT MIGHT BE LIKE TO HAVE TO TRAIN YOURSELF.

YOU TAKE ALL THIS UP VERY SERIOUSLY, BUT THERE IS ALSO THIS SENSE THAT IT IS A GAME.

YOU ARE NOT UNDER THE REAL PRESSURES OF BEING IN A WAR ZONE.

ONE OF THE REASONS WHY I WANT TO GO THERE TO DRAW IS BECAUSE OF BRAWLING IS SOMETHING THAT ALLOWS US TO TAKE IN A SITUATION IN A WAY THAT IS VERY MEDITATIVE AND CONTEMPLATED, AND YOU LEARN THINGS ABOUT A PLACE BEVERLY THROUGH DRAWINGS AND BY LISTENING TO SOMEBODY TALK OR BY READING.

THE LONGER WE STAY IN A PLACE, THE MORE WE CAN CONNECT TO IT.

THAT IS PART OF WHAT DRAWING ALLOWS US TO DO, JUST TO STAY IN THAT PLACE AND CONNECT.

BY SITTING IN DRAWING, IT GIVES US A CHANCE TO THINK ABOUT HOW MUCH CAN I REALLY UNDERSTAND ABOUT THE PLACE THAT THIS IS SUPPOSED TO REPRESENT THROUGH THIS PROCESS.

>> I AM AN AGENT HEART -- ART HISTORIAN.

MY MAIN AREA OF INTEREST IS EAST ASIA, BUT I AM HAVE IRANIAN MYSELF.

I DECIDED I WANTED TO FIND AN INTERESTING IRANIAN ARTIST TO WRITE ABOUT.

HER WORK SEEMS VERY UNIQUE AND INTERESTING AND EMOTIONAL AND BEAUTIFUL.

I DECIDED TO CHOOSE HER FOR THE ARTICLE.

SHE IS AN ARTIST WHO HAS LIVED WHICH WEAN IRAN AND THE UNITED STATES FOR MOST OF HER LIFE, UNTIL OUR LAST VISIT TO IRAN IN 2009.

SHE AND HER PARTNER KIDNAPPED BY GOVERNMENT REPRESENTATIVES AND TAKEN AWAY AND INTERROGATED FOR HOURS.

THIS EXPERIENCE WAS EXTREMELY TRAUMATIC FOR HER.

SHE ACTUALLY THOUGHT THEY WERE GOING TO KILL HER.

FOR TWO YEARS AFTER THAT INCIDENT, SHE RETREATED INTO HER OWN CLOSET AND CREATED A SAFE SPACE FOR HER TO TRY TO HEAL FROM THE EPISODE.

IT EXPRESSES HER CONFLICTING ATTITUDE TOWARD IRAN RIGHT NOW.

THE CRATES ARE SAFE AND BEAUTIFUL PLACES YOU CAN RETREAT TO TO FEEL THAT THE WORLD IS A SAFE PLACE TO LIVE IN.

>> IT WAS THE 40TH DAY ANNIVERSARY OF SOMEONE WHO HAD BEEN SHOT IN 2009.

>> I WAS OUT THERE AT 7:00 A.M.

>> WE FOUND OURSELVES IN THE MIDDLE OF THIS GIANT PROTEST.

>> THERE WERE SO MANY OPEN GRAVES AND SO MANY WALKING ON THEM.

THERE WERE JUST PEOPLE EVERYWHERE.

>> IT WAS BASICALLY MORE THAN I COULD COMPUTE AND COMPREHEND.

>> I WAS SITTING BEHIND THESE TWO PEOPLE AND I JUST PART IN MAKING MORE VIDEOS AND DOING MORE ART.

I JUST KIND OF LIKE DEALT WITH IT THAT WAY.

I MOVED HERE IN 1995.

L.A.

AND TEHRAN ARE BOTH HOME, AND THAT BOTH KIND OF FEEL STRANGE.

I WAS BORN RIGHT BETWEEN THE IRAN-IRAQ WAR IS.

BUT I HAD AN AMAZING CHILDHOOD.

I HAD SUCH A GREAT FAMILY BASE.

I WAS RAISED BY MY GRANDMOTHER AND MY MOM, AND MY GRANDMOTHER USED TO HELP US MAKE BREAD.

IT WAS AMAZING.

>> THERE IS SUCH A MISUNDERSTANDING ABOUT IRAN.

IT REALLY DOES SHOW THAT IRAN IS NOT THIS LARGE, HOMOGENOUS PLACE.

THAT PEOPLE DO HAVE DIFFERENT PERSPECTIVES.

ABOUT 75% OF THE POPULATION IS UNDER THE AGE OF 35.

A LOT OF THEM DO NOT AGREE WITH THE IRANIAN GOVERNMENT.

A LOT OF THEM HAVE A DIFFERENT PERSPECTIVE.

UNFORTUNATELY, THEIR VOICES ARE CENSORED.

BUT PEOPLE HAVE THE INTERNET.

THEY HAVE YOUTUBE.

>> AUGUST 5, 2009, WAS THE DAY WE GOT ARRESTED.

LET'S GO OUT, LET'S GO FOR A DRIVE.

I REMEMBER LOOKING UP AND LOOKING OUT THE WINDOW AND THERE WERE JUST POLICE IN UNIFORMS, MILITARY UNIFORMS.

I WAS TAKEN INTO THIS TRAILER.

A BUNCH OF PEOPLE WERE PUT IN FRONT OF ME AND I WAS GETTING YELLED AT.

THE GUY WHO ORIGINALLY GOT US KEPT COMING INTO THE TRAILER, AND KICKING THE DOOR THAT WAS JUST LIKE FLIMSY.

THAT IS WHY PICK THE MATERIAL THAT I PRINT TO WORK ON, BECAUSE IT REMINDS ME OF THAT.

LIKE A CHEAP VINYL.

TAKING THAT DOWN, COMING IN AND GOING, GIVE THEM TO ME, I FOUND THEM, THEY ARE MINE.

ALL OF THE GRAVES LOOKED LIKE THE INSIDE OF MY CLOSET.

>> THESE ARE ALL FROM IRANIAN HISTORICAL SITES THAT SHE IS VERY PASSIONATE ABOUT.

IT TANTALIZES THE AUDIENCE BY TOUCHING THE BACKGROUND.

>> THE CRATE IS LIKE A FILING CABINET FOR THE HAPPENINGS OF A CERTAIN DAY.

AUDIO THAT WAS PULLED FROM VIDEO, SOUND, STUFFED PILLOWS, LIGHT, AND I GO AND I SIT INSIDE THEM.

I KIDNAPPED PEOPLE INTO EACH CRATE AND I DO PERFORMANCE IS BASED ON THE CRATE.

>> ONE OF THE IDEAS I WOULD LIKE TO CREATE IN THE GALLERY IS BEING MORE UNDERSTANDING OF DIFFERENT COMMUNITIES AND BACKGROUNDS WITHIN IRAN OR ISRAEL.

THERE HAS BEEN A LACK OF CONNECTION BETWEEN THEM.

THIS IS A GREAT WAY TO GET TO UNDERSTAND THE CULTURE AND THE BEAUTY OF WHAT WE CAN BRING INTO LOS ANGELES.

>> MY ART IS LIKE MY THERAPY THAT I DRAGGED OTHER PEOPLE THROUGH.

THEY JUST BECAME SO HEAVY THAT I NEED TO PUT THEM INTO A GIANT MT SHIPPING CRATES.

I JUST HAD TO MAKE ART ABOUT IT.

>> I AM AN ART CRITIC AND CURATOR AND WRITER BASED IN DOWNTOWN L.A.

I MET VICTOR BASICALLY THROUGH WORK.

I STARTED GETTING PRESS RELEASES ABOUT AN EXPERIMENTAL KIND OF -- I GUESS YOU'D CALL IT KIND OF LIKE A POP-UP IN THE SPACE DOWNTOWN WHERE HE MADE AND SOLD CLOTHING.

I REALLY RESPONDED TO THE CLOTHING BECAUSE OF THE WHOLE SENSIBILITY OF APPROACHING FASHION AS SOMETHING THAT WAS NOT JUST AUTOMATICALLY ABOUT BEING SKINNY AND PERFECT AND SHOWING SKIN AND BEING -- HAVING TO WEAR HIGH HEELS.

IT WAS ABOUT BEING INTERESTING, AND ABOUT A LITTLE BIT OF STORYTELLING WITH A CLOSE -- WITH THE CLOTHES.

HE IS VERY CONSCIOUS ABOUT THE MEANING AND THE EMBEDDED NARRATIVE THAT COMES ALONG WITH USING THOSE KIND OF RAW MATERIALS.

GTEC THE EVIDENCE OF SOMETHING THAT WAS VIOLENT AND TRANSFORM IT -- YOU TAKE THE EVIDENCE OF SOMETHING THAT WAS VIOLENT AND TRANSFORM IT INTO SOMETHING BEAUTIFUL.

♪ >> I DO TEND TO USE GUNS, NOT JUST THE IMAGERY, BUT SORT OF LIKE A PAINTER WOULD USE A BRUSH.

GUNS ARE SUCH A POWERFUL SYMBOL, AND THEY MEAN DIFFERENT THINGS TO DIFFERENT PEOPLE.

FOR ME PERSONALLY, USING A GUN AS A TOOL OF CREATION IS A SORT OF CATHARSIS FOR ME.

MY FAMILY WERE ATTACKED WHEN I HAD JUST TURNED 18 IN BROOKLYN.

MY PARENTS WERE SHOT AND MY MOTHER WAS KILLED.

FOR ME PERSONALLY, USING THE GUN, SORT OF TAKING THE POWER AWAY FROM IT AND PUTTING BACK IN MY HANDS TO CREATE.

THE MILITARY COAT IS SORT OF A HYBRID TRENCHCOAT.

IT CONSISTS OF A MARINE DRESS UNIFORM AND THE BOTTOM IS AN AMERICAN FLAG.

IT IS A SYMBOL OF ANTI-WORK.

TAKING THE SYMBOLS -- ALL THE SYMBOLS, THE ARMY, THE BLIND PATRIOTISM, ASSAULT RIFLES, AND PUTTING THEM IN EACH OTHER'S FACE AND USING THEM AGAINST EACH OTHER.

JUST KIND OF PUTTING IT INTO A BLENDER AND POURING IT OUT AND TAKING A DRINK.

BEING IN FASHION IS NOT SOMETHING I EVER HAD PLANNED.

NEITHER HAD I EVER PLAN TO BE A STREET PERFORMER OR PERFORMANCE ARTIST.

THESE THINGS JUST SORT OF COME TO ME IN MY LIFE, AND I LET THEM.

I KIND OF LIKE THAT, JUST SORT OF GOING ALONG AND TAKING IT BY THE REINS WHEN IT PRESENTS ITSELF.

IT JUST SORT OF MAKES SENSE THAT I WOULD BE IN FASHION.

AT THE SAME TIME, I AM STILL MELDING FILM AND ALL THESE ART FORMS TOGETHER.

I LIKE TO CONSIDER MYSELF AS AN INTERMEDIATE ARTIST.

I DRAW FROM ALL DIFFERENT MEDIUMS AND PUT THEM TOGETHER.

I DO PRODUCE T-SHIRTS AND JEANS AND STUFF THAT IS MORE REPRODUCIBLE.

I ALSO TAKE VINTAGE STUFF AND REDO IT.

I DO A MIX OF EVERYTHING.

ONE THING THAT I HAVE BEEN DOING FOR SEVERAL SEASONS NOW IS WORKING WITH PARACHUTE MATERIAL.

I HAVE THESE OLD SILK PARACHUTE SLEPT OVER FROM THE VIETNAM WAR AND I HAVE REPURCHASED THEM AND MAKE THEM INTO BEAUTIFUL DRESSES.

IT IS SOMETHING IT WITH A NEGATIVE, A PATIENT -- NEGATIVE CONNOTATION AND CREATING SOMETHING POSITIVE AND ANGELIC AND BEAUTIFUL.

>> HE WILL NEVER SACRIFICE HIS ARTISTIC INTEGRITY FOR TRENDS, FOR SALES, OR ANYTHING LIKE THAT.

WHEN YOU FIRST SEE HIS WORK, IT CAN BE LITTLE ALARMING WHEN YOU ARE USED TO SEEING CERTAIN THINGS WALK DOWN THE RUNWAY.

I LOOK AT VICTOR'S STUFF AND SAY I COULD NOT WHERE THAT RIGHT NOW.

BUT WHEN YOU BREAK IT DOWN PIECE BY PIECE, YOU CAN WEAR IT.

IT IS WHEN IT COMES TOGETHER WHEN IT BECOMES SORT OF CHAOTIC, BUT PREMIUM, -- BOHEMIAN.

>> I THINK THE BOHEMIAN SIDE, THEY CAN AFTER THAT.

ANYTHING CAN HAPPEN HERE, SORT OF FEELING.

IT IS LIKE DOING A LIMITED EDITION T-SHIRT OR A RARE VINTAGE OF LINE.

THAT IS A PLUS FOR ANYONE, NOT JUST THE BOHEMIAN SOCIETY.

EVEN IF YOU SHOT 10 DIFFERENT THINGS WITH GUNS, THEY WOULD HAVE A DIFFERENT AMMO SPRAY PATTERN.

THAT WOULD OTHERWISE BE DIFFERENT.

>> VICTOR DOESN'T CARE ABOUT WHAT IS BEING FORECAST FOR THE NEXT FEW SEASONS.

HE IS DRIVEN BY WHAT HE WANTS TO SEE, WHAT INSPIRES HIM, WHETHER IT IS FIRE, ICE, WATER, THE STREETS OF DOWNTOWN L.A.

THAT IS WHAT MOTIVATES HIM TO CREATE.

>> A LOT OF THE PIECES I MAKE, THEY ARE STATEMENTS IN THEMSELVES.

THE ADDRESS ITSELF, THE BOTTOM IS ESSENTIALLY JUST A T-SHIRT FABRIC MATERIAL.

THE TOP IS MOSTLY CRINOLINE.

THEN WE PUT L.E.D.

LIGHTS INSIDE TO ILLUMINATE IT.

THEN I PUT THE FINAL TOUCHES ON IT WITH A BLOWTORCH, JUST TO GIVE IT A CERTAIN EFFECT THAT REALLY MAKES THE NEBULA, THE EXPLOSION POP.

THE IDEA IS THAT CREATION IS INSTRUCTION.

SORT OF THE YEN AND YANG -- YIN AND YANG THING.

THEY BOTH GO HAND IN HAND.

YOU CAN CREATE THINGS THROUGH DESTRUCTION, AND VICE VERSA.

INITIALLY I SET OUT TO HAVE A SORT OF LOOK LIKE AN ATOMIC BOMB, BUT WHEN THINGS COME TO FRUITION, SOMETIMES THEY TAKE ON THEIR OWN LIFE AND THEIR OWN MEANING.

IT'S SORT OF LOOKS MORE NEBULA- ISH.

IS THE UNIVERSE, THE BIG PICTURE.

THAT PIECE DEFINITELY EMBODIES WHAT THE COLLECTION IS.

IT IS EVERYTHING, AND IS NOTHING AT THE SAME TIME.

♪ ♪ I WORK HARD TO LOVE HIM I REACH OUT AND TRY TO MAKE HIM NO IT'D BE SO AWFUL AND SO SAD TO LEAVE HIM ALONE BUT SOME TIME MY MIND GOES FAR AWAY WHEREVER THE WIND BLOWS IT DON'T COME EASY MY LOVE ♪ ♪ HE TRIES TO HOLD ME BUT HIS ARMS FEEL MUCH TOO TIGHT WHEN I NEED HIM I PUSHED HIM SOMEWHERE I CAN FIND AND I KNOW IT'S NOT FAIR SOME TIME IN MY HEART IS HERE, SOMETIMES THERE IT DON'T COME EASY MY LOVE ♪ ♪ ♪ ♪