The Watts district of Los Angeles is a historically significant neighborhood that has undergone many changes over the years. Known for its rich cultural heritage and landmarks, Watts is perhaps most infamous for the 1965 Watts Riots, which had a profound impact on the community and its development.
Early History and Development
Originally a rural area, Watts was home to farms and ranches. In the early 1900s, it began developing as a residential neighborhood. By the 1920s, Watts had transformed into a thriving community. A testament to its rich history, one of the most notable landmarks of the area is the Watts Towers. These are a series of 17 interconnected sculptures created by Italian immigrant Simon Rodia between 1921 and 1954. Made of steel, concrete, and mosaic tiles, the towers stand as a National Historic Landmark and a popular tourist attraction. The towering structures are symbolic of the creativity and perseverance that permeate the community.
Demographic Shifts and Social Tensions
The 1950s and 1960s were times of significant demographic changes for Watts. Many African American families moved into the area, significantly increasing the population. However, the growth came with challenges, as the community struggled with poverty, unemployment, and crime. Tensions between the police and residents steadily escalated, culminating in a tragic and historic event.
On August 11, 1965, a traffic stop in Watts led to a confrontation between police and residents. This incident ignited six days of rioting that resulted in 34 deaths, over 1,000 injuries, and millions of dollars in property damage. The riots had an enduring impact on the community, exposing systemic issues of marginalization and neglect by the broader Los Angeles area.
Post-Riot Rebirth and Resilience
In the years following the riots, Watts underwent significant changes aimed at rebuilding and revitalization. The community received funding for new housing developments, job training programs, and various social services. Efforts to restore and preserve the Watts Towers also began, and the structures became an emblem of the community’s resilience and adaptability.
Watts continued to evolve, further enriched by its cultural landmarks and the spirit of its people. The Watts Summer Festival, established in the aftermath of the riots, is one such example. It serves both as a commemoration of the community’s struggles and as a celebration of its enduring strength and unity.
Modern-Day Watts
Today, Watts stands as a symbol of transformation and resilience. While challenges still exist, efforts in community development, education, and arts continue to shape its future positively. The Watts Empowerment Center and various community organizations play vital roles in providing resources, opportunities, and a sense of hope for residents.
The legacy of the Watts district is a poignant reminder of the complexities and richness of American urban history. Its ongoing journey reflects the spirit and tenacity of a community that has faced great adversity and continues to strive towards a brighter future.
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Conclusion
From its beginnings as a rural expanse to its development into a vibrant community, Watts embodies the dynamic narrative of change and resilience. Its history is marked by notable landmarks like the Watts Towers and significant events such as the 1965 riots. The district’s story is one of rebirth and tenacity, continuing to evolve and inspire, ensuring that Watts remains a cornerstone of cultural and historical significance in Los Angeles.
Part of Watts Towers, a collection of structures and art in the low-income Watts section of Los Angeles, California…The towers themselves were built by Italian immigrant construction worker Sabato (“Sam” or “Simon”) Rodia in his spare time over a period of 33 years, from 1921 to 1954. ..The sculptures’ armatures are constructed from steel pipes and rods, wrapped with wire mesh and coated with mortar. The main supports are embedded with pieces of porcelain, tile, and glass. They are decorated with found objects, including bed frames, bottles, ceramic tiles, scrap metal and sea shells. Rodia called the towers Nuestro Pueblo (“our town” in Spanish). ..Rodia bent much of the Towers’ framework from scrap rebar, using nearby railroad tracks as a makeshift vise. Other items came from alongside the Pacific Electric Railway right of way between Watts and Wilmington. ..Rodia reportedly did not get along with his neighbors, some of whom allowed their children to vandalize his work. Rumors that the towers were antennae for communicating with enemy Japanese forces or contained buried treasure caused suspicion and further vandalism…In 1955, Rodia gave the property away and left, reportedly tired of the abuse he had received. He retired to Martinez, California and never came back. He died a decade later.
Today, the Watts district stands as a vibrant and diverse community, teeming with life and energy. Nestled in the heart of Los Angeles, this area showcases a rich tapestry of cultures, all contributing to its unique and dynamic character. Recent years have seen the district undergo significant redevelopment, ushering in a new era of growth and revitalization. New businesses, trendy restaurants, and innovative cultural institutions have taken root, breathing fresh life into the neighborhood. These developments signal not only economic growth but also a renewed sense of community pride and cohesion.
A symbol of this resilience and creativity is the iconic Watts Towers. These towering structures, built by Simon Rodia over a span of 33 years, remain a beloved landmark and a testament to the community’s spirit and ingenuity. They stand as both historical monuments and sources of inspiration, drawing visitors from around the world who come to marvel at their intricate designs and the story they represent.
Beyond its present-day vibrancy, the Watts district holds a storied past that is deeply woven into the fabric of Los Angeles’ history. Initially a rural area, it evolved into a thriving residential community. However, the district’s journey was not without its trials. The 1965 Watts Riots marked a turbulent chapter in its history, highlighting the profound social and economic inequalities faced by its residents. Despite this, the community’s resilience shone through as it worked tirelessly to rebuild and heal.
In conclusion, the Watts district of Los Angeles is a historically significant neighborhood that has witnessed profound changes over the years. From its origins as a rural enclave to its transformation into a bustling residential community and through the challenges of the 1965 riots, Watts boasts a rich and complex history. Today, it stands resilient and continues to evolve, embodying the strength and spirit of its residents who strive for a brighter future. The Watts district is not just a neighborhood; it is a testament to the enduring power of community and the ability to overcome adversity.
Rod: A creative force, blending words, images, and flavors. Blogger, writer, filmmaker, and photographer. Cooking enthusiast with a sci-fi vision. Passionate about his upcoming series and dedicated to TNC Network. Partnered with Rebecca Washington for a shared journey of love and art.
The sudden death of the Cameroon-born curator Koyo Kouoh, at the age of 57 and at the height of her career, has shaken the art world. Her passing has left a void in the African arts scene, one which extends far beyond the continent.
Born in 1967 in Douala, she spent her teenage and early adult years in Zurich, Switzerland before returning to the continent and settling in Senegal. She lived in Cape Town, South Africa from 2019. There she was executive director and chief curator of the Zeitz MOCAA museum. It holds the continent’s largest collection of contemporary art.
At the time of her death, she was due to become the first African woman to lead the prestigious Venice Biennale, dubbed the “Olympics of art world”.
She described her practice, as a creative manager of art spaces and exhibitions, as being deeply rooted in:
A pan-African, feminist, ancestral, activist perspective, but also one that is generous, inclusive and welcoming.
Kouoh was unapologetic about her commitment to promoting Africa and Africanness on the global stage. Her decorated career included serving in global roles as curatorial advisor for leadingexhibitions and art events.
As a researcher of modern and contemporary arts of Africa, I first met Kouoh in 2015 when she facilitated a curatorial workshop I attended. I would work with her at Zeitz MOCAA, specifically helping research her landmark show, When We See Us: A Century of Black Figuration in Painting.
Beyond these achievements, Kouoh mentored countless artists and art organisers, especially women. She leaves a legacy of building sustainable art institutions, critical curating with care, uplifting artists and cultural workers, and educating through art.
My motto has always been, You have to set up your own house and build your own home as opposed to trying to get into someone else’s castle.
One of the lasting legacies Kouoh left is teaching how to build African arts institutions, which help give creatives the chance to be seen and heard, and to make independent decisions free of the demands of funders.
The RAW Material Company that she established in Dakar stands as testimony of that. Through the artist residency and exhibition space, she was able to bring many independent and emerging artists, curators and gallerists to Senegal. There she published books on art from the continent, helping nurture and shift the Africa art ecosystem as it began to play an increasingly visible role in global art markets.
Her role in reviving the unstable ship that was the Zeitz MOCAA at the time she took over and steering it to becoming one of Africa’s leading cultural institutions and a global competitor says a lot about her vision. As she said:
I’m a fixer, I like to take complicated institutions and make them sustainable.
Education
The exhibitions she led were thoroughly researched and tended to generate critical discourse and public dialogue. When We See Us, for example, comes with an education programme that includes a webinar series.
Each exhibition of the show as it tours globally comes with a symposium and a publication with contributions from critical thinkers in the art industry. Even more impressive is how she managed to bring together people from different sectors, including respected academics, cultural workers and captains of industry.
We cannot talk about Kouoh’s contributions to art education without mentioning the Zeitz MOCAA & University of the Western Cape Museum Fellowship Programme, geared to grow “curatorial practice as well as advance scholarship on contemporary art discourse from the continent”. In my tenure, I observed that the museum’s Centre for Art Education and its outreach programme were closest to her heart.
Celebrating African artists
At Zeitz MOCAA, Kouoh was more drawn to research-based solo exhibitions or select surveys which offered in-depth insights into “individual practices, with retrospectives and monographs”. In her time at the museum it shone a spotlight on African artists like Senzeni Marasela, Johannes Phokela, Tracey Rose, Mary Evans, Otobong Nkanga and others.
Through the museum’s ongoing Atelier programme, a studio residency which is open and experimental in nature, audiences gain insights into an artist’s practice, process, thinking and intentions. So far, artists like Thania Petersen, Igshaan Adams, Unathi Mkonto and Berni Searle have shared these processes, which normally remain invisible to those who only see the final work.
She did all this in just over five years in Cape Town.
Uplifting generations
Kouoh believed in people’s potential and saw infinite possibilities in each one of us. This can be seen through the many peers and young talents she mentored and provided space to flourish. The young team of mostly Black female curators she has left in place at Zeitz MOCAA is proof of that. She cared about the welfare of the people around her.
Of the need to elevate women, she stated:
The importance, or rather the urgency, of focusing on women’s voices cannot be highlighted enough.
Curator of the Venice Biennale 2026
Recently appointed as the next Venice Biennale’s artistic director, Kouoh was due to present the exhibition’s title and theme in Venice on 20 May.
Those who have known her practice, as well as her obsessions and values, keenly anticipated the day, knowing African voices would take centre stage. I hope her team will be allowed to execute her ideas to the end.
Legacy
Kouoh belonged to a pioneering generation of African curators who worked hard for the recognition of African voices and creativity on the global stage. Although that recognition started to be earned in the 1990s, she realised a lot more still needed to be done, which is why she never stopped working, even at the most difficult of times.
She shared her vision of building strong independent institutions, encouraging others to do the same. She led in documenting and critically engaging artistic processes, and in producing African knowledge.
May her legacy and her spirit live on. As she said:
I do believe in life after death, because I come from an ancestral black education where we believe in parallel lives and realities.
Veggies forVeterans Phoenix VA, May 14, 2025 Image Credit: Rod Washington
In a powerful display of community support and health advocacy, the Phoenix VA Hospital hosted another landmark Veggies for Veterans event yesterday, May 14, 2025. This milestone event, marking eight years of service since April 2017, continues to transform lives through the collaborative efforts of Gregory’s Fresh Market and the VA Health Care System. Yesterday’s distribution saw 600 veterans receiving fresh produce at the Carl T. Hayden VA Medical Center, adding to the impressive total of over 22,000 veterans served since the program’s inception.
“This is a way to thank them for their service,” explains Diana Gregory, founder of Gregory’s Fresh Market. This sentiment resonates deeply with veterans like Bobby Smith, who shared, “This helps with my wife and my budget because food is getting more expensive. It really has added to our diet, we were able to have healthy food.”
Yesterday’s distribution featured carefully curated bags filled with seasonal favorites including apples, oranges, zucchini, potatoes, bell peppers, and onions. The program, funded through Gregory’s 501(c)(3) organization and supported by key sponsors including Arizona Complete Health, Peddler’s Son, and Fry’s, has become a model for veteran support programs nationwide.
What makes this initiative particularly impactful is its dual benefit: while veterans receive access to fresh, nutrient-dense foods, local farmers and suppliers also gain support through the program’s commitment to sourcing produce locally. This approach creates a sustainable cycle of community support that extends beyond the immediate benefits to veterans.
The dedication of participants like David Eberly, who waited since 6 a.m. to participate, demonstrates the program’s significance to the veteran community. Phoenix VA Nurse Practitioner Isabel Kozak, who has witnessed the program’s impact firsthand, noted, “I just absolutely love being able to hear Veterans’ stories about how this event is so helpful to them.”
Corporate volunteers and VA staff worked side by side to distribute the produce, creating an atmosphere of genuine care and community engagement. Veterans don’t need to be enrolled in VA care to participate, making the program accessible to all who have served. This inclusive approach aligns perfectly with President Lincoln’s promise to care for those who have served our nation’s military, their families, caregivers, and survivors.
The Future for Veggies for Veterans
The Veggies for Veterans program continues to grow, with regular distribution events scheduled throughout the year. For veterans interested in participating, the program will return to the Phoenix VA Hospital on September 10 and November 5, 2025. This consistent presence ensures that veterans have reliable access to fresh, healthy food options while fostering a stronger sense of community support.
As this initiative enters its ninth year, it stands as a testament to how community partnerships can create meaningful impact in the lives of those who have served our country, one bag of fresh produce at a time.
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Wells Enterprises, Inc., America’s largest privately held, family-owned ice cream manufacturer, has initiated a nationwide voluntary recall affecting more than 50,000 gallons of ice cream and frozen yogurt products due to potential plastic contamination.
Key Recall Details
Affected Products: Nearly 18,000 three-gallon containers across 22 varieties
Popular Brands Involved: Blue Bunny, Halo Top, and other Wells Enterprises products
Distribution: Products shipped to 103 distribution centers nationwide
The company took immediate action after discovering the possibility of foreign material (plastic) in select products. While no injuries have been reported, consumers are urged to:
Check product codes against the recall list
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Stop using affected products immediately
Return items to the place of purchase for a full refund
Contact Wells Enterprises customer service with questions
Affected Product Information
The recall specifically impacts 3-gallon bulk containers of various ice cream and frozen yogurt flavors. Wells Enterprises, known for producing popular brands including Blue Bunny, Halo Top Creamery, and The Cheesecake Factory At Home ice cream products, initiated the voluntary recall on April 25, 2025.
For More Information
Consumers can visit the FDA’s official website or follow STM Daily News’ Food and Drink section for the latest updates on this recall and other food safety alerts.
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