Peter CreditTurman
OUR MISSION The Skirball Cultural Center is dedicated to exploring the connections between 4,000 years of Jewish heritage and the vitality of American democratic ideals. It
welcomes and seeks to inspire people of every ethnic and cultural identity in American life. Guided by our re-
spective memories and experiences, together we aspire to build a society in which all of us can feel at home.
The Skirball Cultural Center achieves its mission through
educational programs that explore the literary, visual, and performing arts from around the world; through
the display and interpretation of its permanent collections and changing exhibitions; through an interactive family destination inspired by the Noah’s Ark story; and through outreach to the community.
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Skirball Cultural Center Board of Trustees Peter M. Weil, c hairman Uri D. Herscher, p resident Arthur H. Bilger, v ice chairman Lee Ramer, v ice chairman Howard I. Friedman, founding chairman
Howard M. Bernstein Martin Blackman Lloyd E. Cotsen Evelyn Feintech Philip de Toledo Melvin Gagerman Marc H. Gamsin Leslie Gilbert-Lurie Vera Guerin Richard S. Hollander Dennis Holt Robert C. Kopple Marlene Louchheim Orin Neiman Kenneth A. Ruby Harold M. Williams Jay S. Wintrob Marvin Zeidler John Ziffren Ken Ziffren
Skirball Cultural Center 2701 N. Sepulveda Blvd. Los Angeles, CA 90049 skirball.org
Timothy Norris
(310) 440-4500
IN THIS ISSUE President’s Message
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From Darkness to Light
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Old-World Traditions, A Lasting Friendship
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Stories of Struggle and Opportunity
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Crossing Cultures, Rooted in Tradition
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Re-Defining American
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Past Lessons, Future Directions
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As American as Rock & Roll
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Elon Schoenholz
PRESIDENT’S MESSAGE
The United States is a nation of immigrants. At its best, America has provided safe haven, unprecedented freedom, and bound-
less opportunities to people of every ethnic, religious, and cultural identity. We have brought with us our ancestral values
and rich histories, our cherished memories and hopes for new beginnings. We have come to America with our dreams.
This was true of my own parents, who after barely escaping from
Nazi Germany, found refuge in British Mandate Palestine and
eventually settled in San Jose, California, in the mid-1950s. Having
endured the loss of their parents, who perished in the Holocaust, they came in search of a life free from oppression and danger, a life full of possibility.
I was a boy of thirteen when I arrived in America, a stranger in a strange land. But I was blessed
by a loving family and the kindness of neighbors, teachers, and classmates. To this day I am grateful to the mother of a friend who tutored me in English, helped me adjust to my new school, and even helped me land my first job, at a local cannery. She told me how lucky America
was to have me, how America needed people from around the globe to come with their ambitions and aspirations if America was to flourish. I agreed with her then, and I agree with her now. For much if not all of its history, the United States has opened its doors to multitudes—the “huddled masses yearning to breathe free,” in the immortal words of Emma Lazarus, herself
a Jew. I hope that we may continue to believe in the extraordinary potential that immigrants represent for our nation’s future. Yet often I wonder if we have failed on the promise of America as the land of hopes and dreams. When I look at our far-flung yet balkanized city
of Los Angeles, I lament how inadequately we know each other. What good is our diversity if we do not meet each other—meet to learn of each other’s heritage, relate to each other’s
struggles and triumphs, share our histories, transmit our stories, and acknowledge our differences as well as our commonalities?
At the Skirball, we strive to be that place of meeting, where we draw inspiration from our
respective memories and experiences as Americans of diverse backgrounds. We celebrate the stories of immigrants so that we may appreciate how those who came before us have left their mark on American life—and so that we may gain a deeper understanding of the myriad cultures that anchor our democracy.
Uri D. Herscher Founding President and Chief Executive Officer Skirball Cultural Center
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Steve Cohn
Through a captivating lens, audiences focus on the émigré visionaries of Hollywood’s Golden Age.
As film awards season began last fall and moviegoers lined up to watch the year’s frontrunners in film, a major Skirball exhibition looked back at the Golden Age of Hollywood. During its four-month run, Light & Noir: Exiles and Émigrés in Hollywood, 1933 – 1950 spotlighted many great works of cinema produced during those prolific years. As visitors discovered, some of the most compelling plots were not those dramatized on the silver screen, but rather those lived by the filmmakers themselves. Their experiences as exiles and émigrés — characterized by the polarities of joy and sadness, of “light and darkness”— became the guiding principle of the exhibition. Artfully bringing together private and public
histories, Light & Noir celebrated the legacy of Golden Age directors, actors, writers, and composers who
started their careers across the Atlantic. When the Nazi regime seized power, they fled their homelands and found refuge in the United States. Resuming
their careers in Los Angeles—often with the help of
already established émigrés such as Carl Laemmle, Paul Kohner, and Marlene Dietrich—the new arrivals
came to create such American classics as Ninotchka, Mildred Pierce, and Harvey.
“This is one of my all-time favorites,” exclaimed
one movie fan, as she and her family entered a room
filled with wardrobe and props from Casablanca, by
Hungarian Jewish director Michael Curtiz. Treasures on view included a chandelier from the set of Rick’s Café, promotional lobby cards, and costumes worn by Humphrey Bogart and Ingrid Bergman. Many visitors Facing page: Co-presented with the Academy of Motion Picture Arts and Sciences, Light & Noir drew cinephiles and history enthusiasts of all generations. In her feedback about the exhibition, one visitor thanked not only the émigré filmmakers “who brought color and beauty to our land,” but also her own immigrant grandparents. She wrote, “Light & Noir brings forth great pride in our heritage and our country.” Above: An outspoken opponent of Nazism, German immigrant Marlene Dietrich (pictured here in Billy Wilder’s A Foreign Affair) was among the many Golden Age luminaries featured in the exhibition. Film still © Paramount Pictures/Courtesy of Academy of Motion Picture Arts and Sciences.
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were struck to discover that nearly every member of
the cast and crew hailed from Europe, unable to return because of the war. Casablanca was a film about
emigration and exile both on screen and on set. As the exhibition catalogue points out, it is “as much about
the precarious nature of survival during World War II as it is about the complicated ways of love.”
In another gallery section, fans of legendary
director Billy Wilder stood almost reverently in front
of film stills, posters, and memorabilia from his many masterpieces. Here they also learned of his turbulent
past. A Polish Austrian Jew who lost his mother to the Holocaust and escaped Berlin in 1933, Wilder brought
his experiences and skills in German Expressionist
filmmaking to the emerging genre of film noir. Many decades later, the influence of his work endures. Writ-
ing on a blank vintage aerogram available to visitors
Vivian Yu
Dated December 18, 1938, this Christmas card from émigré producer Carl Laemmle represents one example of his many impassioned efforts to provide aid to fellow German Jews during the war. Card from the collection of Rosemary Laemmle Hilb.
The exhibition opened with a section on “Early Hollywood,” where visitors examined “Max Factor’s Scroll of Fame.” At the November 1935 opening of the Polish Jewish émigré’s renovated makeup salon on Highland Avenue, 900 guests and celebrities signed the large parchment scroll, including émigrés Carl Laemmle, Michael Curtiz, and Paul Muni. Scroll courtesy of the Max Factor Family Foundation.
Peter Turman
Left: Through the Skirball’s Teaching Our World Through the Arts professional development program, local K–Grade 12 educators created and edited their own neo-noir films. The workshops taught film and theater techniques that teachers could use in their classrooms to deepen students’ learning. Above: Participants in the Skirball’s in-school residency used the Fairfax High campus to shoot student short films. The neo-noir works featured such titles as Between Life and Death and Pendulum.
to share their own stories, a budding filmmaker left a
and seniors at Fairfax Magnet Center for the Visual
for Sunset Boulevard …. Prepping my feature directorial
creators, developing short films from script to screen.
note of gratitude: “Amazing to see Billy Wilder’s Oscar debut, so [it is] very inspiring. Thank you.”
An array of related offerings complemented Light
& Noir—from the companion exhibition The Noir Effect, to a talk and a makeup demonstration illuminating
Arts. Inspired by the exhibition, the students became
At the conclusion of the program, they premiered their neo-noir works to an audience of their peers and spoke of their creative process and aspirations.
A year later, with awards season upon us again,
1940s film fashion, to a film series highlighting the
Light & Noir is now set to open at the Illinois Holo-
in partnership with Otis College of Art and Design, an
Sacramento, and Philadelphia. An exhibition about
emergence of strong female leads in film noir. Offered
adult education class took students on an after-dark
excursion to explore “Urban Noir: Night Photography in Los Angeles.”
Miles away, over the course of ten weeks, the
Skirball’s in-school residency program engaged juniors
caust Museum, followed by presentations in New York, courage, creativity, and compassion, the traveling exhibition will continue to add dimension to some
of America’s most beloved classic films—and to the
public’s understanding of this significant, often under-
appreciated chapter in American and Jewish history. skirball.org
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OLD-WORLD TRADITIONS a lasting friendship
At the Skirball’s Viennese pastry workshop, Judy Clifford and Susie Friedman prepared strudel together for the first time.
Lifelong friends find a delicious way to honor their heritage at the Skirball.
Close pals since grade school, Susie Friedman and Judy Clifford speak by phone daily and fly cross-country every year to spend time with each other. One day this past winter, Susie, a longtime Skirball Member, heard about the one-day workshop “Viennese Café Culture and Cooking,” presented in association with the site-specific installation Café Vienne. She called Judy, and the pair enrolled. For the two first-generation Americans, it was a chance to learn how to bake apple strudel—and a unique occasion to celebrate their families’ immigrant heritage. “We wanted to take the class in memory of our mothers, who were best friends in Vienna before coming to the United States and stayed friends their whole lives,” explained Susie. In 1938, their mothers, Rosie Weingarten and Lilly Goldsand, fled their beloved city with their husbands as the threat of Nazi annexation loomed. The newlywed couples resided in St. Louis first, settling in a tight-knit community of Austrian refugees, until Rosie and her husband, Freddie, headed to Los Angeles. Eventually Susie and Judy met and became fast friends, writing letters and spending summers at each other’s homes. Each describes the other as “the sister I never had.” Decades later, Susie and Judy were kneading handmade dough in a Skirball classroom buzzing with activity. At one table, a mother and daughter took turns slicing bright green apples, while a husband-and-wife team nearby mixed a bowl of cherries with poppy seeds. As Susie rolled out the dough—“Thin enough to read a love letter through it,” advised instructor Maite GomezRejon—she remembered her grandmother, who baked scrumptious Viennese cookies. Judy vividly recalled her aunt making strudel on the dining room table. Both
Lilly Goldsand and Rosie Weingarten were friends in Vienna, before fleeing to America as Adolf Hitler rose to power. Their daughters carry on the legacy of their enduring friendship.
relished the opportunity to partake in a hands-on ritual that was so much a part of their families’ lives, both in Austria and the U.S. “There’s an undeniable element of nostalgia to food, especially as one of the most basic ways by which immigrants and their descendants hold on to their heritage,” said Gomez-Rejon, who as the founder of ArtBites has taught art and culinary history at museums across the country. “Food has a strong connection to the past—to our moms as well as our mother countries—so that smells, tastes, and even the process of cooking can evoke memories and bring them back to life.” At the close of the workshop, the twenty-one participants gathered in Café Vienne, created by artist Isa Rosenberger in homage to Viennese café houses, which Susie’s and Judy’s kin had once frequented. Together Susie and Judy savored conversation over coffee and strudel, just as their immigrant parents used to do. Judy remarked, “Remembering the lives that people lived interests me. Finding this way to remember our mothers at the Skirball was just wonderful.”
Susie has lovingly preserved her grandmother’s recipe book of Viennese dishes. skirball.org
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Christine Romeo
BeBe Jacobs
Stories of STRUGGLE In both lecture halls and intimate salon settings, the memories of immigrants take center stage. To preserve family history is to preserve the story of a people. This past year, storytellers of diverse backgrounds gave voice to their families’ remarkable journeys, as well as their own. Their narratives bear witness to the phenomenon of America as a nation of immigrants. In association with the exhibition Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950, the children of several actors, directors, writers, and composers who fled Nazi Europe and helped pioneer Hollywood’s Golden Age participated in salon-style discussions inside the gallery. In addition to lively anecdotes from a bygone era—“Everyone from Gregory Peck to Robert Taylor used to come over,” remembered Bob Koster, son of German Jewish director Henry Koster (Harvey)—they brought perspective to their parents’ status as exiles. Arianne Ulmer-Cipes candidly described the challenges
of assimilation felt by her Austrian Jewish father, the director Edgar G. Ulmer (Detour), to whom America offered refuge and employment even as it classified him as an enemy alien. “He loved baseball and hot dogs and boxing and Milton Berle,” observed Ulmer-Cipes. “But he was always torn between his new life and his European past.” Following the Skirball salons, visitors and descendants often continued to discuss moviemaking and cultural history, participating in the open-forum dialogue of the salons of the era. Monica Henreid, whose
Ryan Torok/Courtesy of Jewish Journal
and OPPORTUNITY father, Paul Henreid, starred in Casablanca as Victor Laszlo, reminded attendees, “The point of those salons was that they were safe havens. [The émigrés] needed a place to feel safe and talk about their memories, their hopes, their dreams, their passions.” Throughout the year, other immigrants took the podium to speak of their immigrant lives. Belgianborn fashion designer and philanthropist Diane von Furstenberg paid tribute to her family history, including the hopes and dreams bequeathed to her by her mother, a Holocaust survivor. “She would write to me, ‘God saved me so that I could give you life. You are my torch of freedom,’” recounted the style icon.
At another well-attended talk, actor/writer and “Indian English kid who had been transplanted to America” Aasif Mandvi delighted audiences with hilarious tales of life as a young immigrant—particularly in show business, where roles for people of color are limited. Mandvi explained how the play he wrote, Sakina’s Restaurant, which features characters of his own cultural identity, resonated with audiences.“I had all kinds of people come to that show, not only immigrants, who would say, ‘Oh, this is my family, too. That is also me,’” said Mandvi, putting into words the power of storytelling to bridge divides between cultures and highlight the shared experiences of immigrant communities.
Above left: A supporter of emerging women leaders, Diane von Furstenberg (pictured with Maria Shriver, at a program copresented with Book Soup) encouraged her many devotees in the audience, “If you have any kind of success, it is your duty and your privilege to use your voice for people who have no voice.” Above center: At one of the three salon-style discussions inspired by the exhibition Light & Noir, Walter Arlen (shown with microphone) a former Los Angeles Times music critic and an Austrian Jewish émigré composer, lent his expertise while attendees listened to classic Hollywood recordings. Above right: In a program also co-presented with Book Soup, The Daily Show correspondent Aasif Mandvi (in plaid jacket) conversed with acclaimed author Reza Aslan about growing up as immigrants in the 1980s and re-defining American identity today. skirball.org
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Crossing Cultures, Rooted in Tradition Bonnie Perkinson
More than 400 music lovers were mesmerized by Montrealbased, Iranian American duo Niyaz, presented live at
the Skirball. Featuring the rich, plaintive vocals of Azam
Ali and lyrics that explore the plight of immigrants and minorities worldwide, the band blends medieval Sufi poetry and folk songs from their native Iran with acoustic instrumentation and electronic rhythms. Of
this unexpected fusion, Ali asserted, “It’s very possible to be part of the modern world and remain connected to our roots.” For Ali, who lived in Los Angeles for decades
before moving to Montreal, performing before the Skirball’s enthusiastic and diverse audience held meaning. She noted, “As I’m looking at you and you’re
from all walks of life, I think, ‘This is the greatest thing
that as an artist you can accomplish: to unite people in one room.’”
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RE-DEFINING
Angeleno youth trace their immigration paths and consider the fabric of American life. When more than 200 eleventh and twelfth graders arrived at the Skirball one morning this year, they encountered a map. Using push pins and gold string, the teens “threaded” the routes between their families’ countries of origin and the metropolis they now call home. Soon the map burst with gold radiating from greater Los Angeles to points in Europe, Asia, and Central and South America. The image spoke volumes about the common histories of these young Americans. Since their inception, Skirball school programs
have sought to explore immigrant lives in innovative
ways and to ignite civic responsibility in students. An
installment in the Skirball’s film and dialogue series, today’s special program was designed to heighten students’ understanding of one of the most pressing issues facing society today: immigration reform. In addition to the map exercise, Skirball
face to the debate surrounding immigration reform,
Documented tells the story of Philippine-born, Pulitzer Prize–winning journalist Jose Antonio Vargas. At the age of thirty, Vargas wrote a New York Times Magazine story in which he identified himself as an undocumented immigrant who had been brought to America as a child. The audience watched with rapt
educators assembled a display of facts
and figures relating to the issue. Students took a look at how much tax rev-
enue immigrants, regardless of their
status, contribute to the U.S. economy. They learned how many millions of immigrants wait up to twenty years for visas and the chance to reunite
with family. They perused a graph showing higher entrepreneurial activ-
ity in immigrant vs. native-born populations. A trio of students seemed
surprised by this fact at first, then talked about the immigrant families
in their own neighborhoods who had started their own businesses.
With the statistics in mind,
the four high school classes then watched a documentary that brought
the data to life. Putting a human
The school program participants hailed from all corners of Los Angeles— from the West Valley to the South Bay to east of downtown. As traced on a world map, their families’ immigrant journeys spanned the globe, adding to the rich diversity of Los Angeles. All photos in this article by BeBe Jacobs.
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attention as Vargas, founder of DefineAmerican.org, put his career on the line, risked deportation, and
came out of the shadows to join a growing movement of undocumented immigrants fighting for a path to citizenship through the DREAM Act. “Why is it that when we talk about immigration in this coun-
try,” asks Vargas in the film, “we always frame it as a problem and not as a solution?”
This provocative question prompted many more
when the students broke out into smaller groups. They
discussed whether they relate to Vargas’s biography, how they define American, and why they think the top-
ic of immigration is so divisive. Reassured that this was
a safe place for important and difficult conversations,
one student revealed that he was also a “DREAMer,” once ashamed of his circumstances. “Since I didn’t
have my papers, I would just say that I was born here, even though I came from Mexico when I was six,” he
explained. “But after seeing this movie and hearing all
the other people’s stories, I am proud to say where I’m
from. I think that’s what makes me more American,
too—to be from somewhere else. It’s part of who I am.” The students applauded his honesty and insight.
Another student reflected upon the theme of
exclusion generally: “I think the reason that some people want to exclude immigrants is the same as
when we exclude people from our circle of friends …. We just don’t want to let some people in, but it’s not
right. I’m going to try to be better about that in my life.” Teacher Jerrilyn Jacobs of Taft Charter High
School in Woodland Hills later shared feedback with the Skirball: “My students and I are so appreciative of
your using films to generate understanding for social causes. Many of the Taft students are personally affected by immigration, and the film had a big impact
on them. Thank you for this deep avenue for learning.”
Facing page, top to bottom: While watching Documented together at the Skirball, the teens were visibly moved by the film’s portrayals of activists their own age who seek justice for immigrant youth and families. As part of the Skirball school program, the participants shared their responses to the question “What does immigration mean to you?” Above and left: Students and teachers studied and discussed a display of statistics relating to the state of immigration today.
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PAST LESSONS, FUTURE DIRECTIONS Peter Turman
Each school year, fifth graders from across the county
visit the Skirball’s core exhibition, Visions and Values: Jewish Life from Antiquity to America. They participate in the school outreach program Americans and Their Family Stories. Dressed up in shawls and vests like newly
arrived Europeans at the turn of the twentieth century, the schoolchildren re-enact the inspection process at Ellis Island and draw parallels to immigration today. Many
of them are first- and second-generation Americans
themselves. “I learned so much,” commented one student. “My father was an immigrant and I didn’t know what
that meant before.” A teacher credited the program for
connecting the past to the future: “Through the Skirball, I hope to help my students understand that they have
a role and responsibility in helping our nation grow strong, just as their grandparents and great-grandparents did before them.”
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John Olson
Above: Bill Graham in 1970, on stage at Lower Manhattan’s now-legendary Fillmore East. Photo courtesy of the LIFE Picture Collection/Getty Images. Far left: Commemorative exhibition poster by legendary poster artist Bonnie MacLean. © 2015 Skirball Cultural Center. Left: The son of Russian Jews, Bill Graham was born Wolodia Grajonca in Berlin on January 8, 1931. He is pictured here (in dark shorts and knee socks) together with his family, ca. 1938, before he was separated from them during the war. Photo from the collection of David and Alex Graham.
Bill Graham and the Rock & Roll Revolution illuminates how a refugee orphan emerged as a cultural trailblazer and champion of social justice. Many aspects of American society were upended in the 1960s, and music was one of them. In San Francisco, the epicenter of the “Summer of Love,” a counterculture emerged that embraced the power of music (and other mind-altering experiences) to transform the status quo. “When the mode of the music changes,” said one musician of the era, “the walls of the city shake.” So it was in San Francisco, and soon enough, throughout the world. A rock & roll revolution was born. skirball.org
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In the eye of this countercultural storm was an
Amid the chaotic psychedelic music scene in
unlikely catalyst: a Jewish immigrant to the United
1960s San Francisco, Bill saw what others didn’t see: a
on the shores of New York in 1941. His name, chosen
experience of rock & roll theater and community. As a
States who fled Nazi persecution and arrived penniless from a Bronx phonebook, was Bill Graham. Born Wolodia
“Wolfgang” Grajonca in Berlin in 1931, he was a child
refugee, having lost his mother and youngest sister
promoter and manager, he launched many of the greatest
bands of that generation—the Grateful Dead, Jefferson Airplane, Santana, the Doors, the Allman Brothers, Janis
Joplin, Jimi Hendrix—earning them and himself a fortune.
Timothy Norris
Lynn Goldsmith
to the Holocaust. Bill’s survival instinct would serve
new frontier of show business, an eclectic and electric
Above left: In the summer of 1985, Bill Graham organized and presented the American portion of Live Aid, a two-continent benefit concert that raised $44 million for famine relief in Africa. He is pictured above motioning from backstage as Tina Turner and Mick Jagger performed. Above right: Among the many objects that drew tens of thousands of visitors to the exhibition were a tambourine and microphone used by Janis Joplin at the Fillmore Auditorium, ca. 1968, from the collection of David and Alex Graham; as well as wardrobe belonging to Joplin, courtesy of EMP Museum, Seattle, WA.
him well in the rough-and-tumble business he would
He understood, as few did at the time, the power of rock
In many ways, Bill Graham’s story is the immi-
of humanitarian causes. More than profit, purpose was
conquer many years later.
grant’s story writ large. He took chances and found a niche for himself where none had existed before. He
& roll to foster social awareness and to aid all manner his passion.
In a city of bridges, Bill built new ones—between
was an innovator who worked tirelessly to become
people and between communities. His Fillmore Audito-
citizenship—freedom of speech and artistic expres-
his Fillmore East in New York straddled neighborhoods
a success. He cherished the guarantees of American
sion, the right to assemble and to dissent—even more so because he knew what could happen when those
freedoms were crushed. As a combat veteran of the Korean War and as a naturalized citizen, he embraced his adopted nation.
rium—and, later, Fillmore West—in San Francisco and
separated by racial and social divides. He booked soul, jazz, and blues acts along with rock bands to attract
mixed audiences into one theater. He educated young audiences about the roots of American music, just by putting on a great show.
Before the expression became popular, Bill was the essence of
“hands-on.” He understood that his fundamental role was hospitality. At
the top of the stairs at the Fillmore Auditorium, he set out a barrel filled
with fresh apples under a sign that read “Have one … or two.” This was Bill’s way of making his guests feel welcome, and it too was rooted in his childhood experience. As a ten-year-old refugee with very little to eat, Bill
would sneak into the surrounding orchards at night, bringing back apples
to all the other boys. Even then, he was impetuous and fearless. In 1985,
editor
Mia Cariño contributors
Doris Berger Elena Bonomo Erin Clancey Kathryn Girard Robert Kirschner Susan Larson Megan Ro Anna Schwarz design
Picnic Design printing
Colornet Press
Timothy Norris
© 2015 Skirball Cultural Center Cover: Photograph by Elon Schoenholz Page 7: Photograph by Steve Cohn Back cover: Photograph by Timothy Hursley
Above: For a summertime late-night event, the Skirball bridged the generations, pairing the trailblazing Joshua Light Show—whose mesmerizing liquid light shows were often the backdrop to Bill Graham Presents productions in the 1960s— with new music by synth-pop artist Tamaryn.
President Ronald Reagan announced an official visit to the Bitburg Cemetery. When Bill learned that fifty Nazi SS officers were interred there, he launched a one-man national campaign of protest. The president went
ahead with the visit, but history will remember Bill Graham’s courage and conviction.
On view this past spring/summer, the Skirball exhibition Bill Graham
and the Rock & Roll Revolution told the story of a passionate, hard-driving
entrepreneur and innovator. More than that, it celebrated the power
stay connected
of the American dream, the freedom to pursue it, and the values that
inspire it—in keeping with the vision, and the mission, of the Skirball Cultural Center.
blog.skirball.org
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