In 'Bunker Hill Los Angeles: Essence of Sunshine and Noir', historian Nathan Marsak tells the story of the Hill, from the district's inception in the mid-nineteenth century to its present day. Marsak commemorates the poets and writers, artists and activists, little guys and big guys, and of course, the many architects who built and rebuilt the community on the Hill - time after historic time. Any fan of American architecture will treasure Marsak's analysis of buildings that have crowned the Hill: the exuberance of Victorian shingle and spindlework, from Mission to Modern, from Queen Anne to Frank Gehry, Bunker Hill has been home to it all, the ever-changing built environment.

A compendium of historic crimes and strange occurrences in the Bunker Hill area of Los Angeles

An illustrated history of the iconic Hollywood neighborhood featured in numerous film noir classics—and the shadowy story of how it disappeared. When postwar movie directors went looking for a gritty location to shoot their psychological crime thrillers, they found Bunker Hill, a neighborhood of fading Victorians, flophouses, tough bars, stairways, and dark alleys in downtown Los Angeles. Novelist Raymond Chandler had already used its real-life mean streets to lend authenticity to his hardboiled detective stories featuring Philip Marlowe. But the biggest crime of all was going on behind the scenes, run by the city’s power elite. And Hollywood just happened to capture it on film. Using nearly eighty photos, writer Jim Dawson sheds new light on Los Angeles history with this grassroots investigation of a vanished place.

My first collision with fame was hardly memorable. I was a busboy at Marx's Deli. The year was 1934. The place was Third and Hill, Los Angeles. I was twenty-one years old, living in a world bounded on the west by Bunker Hill, on the east by Los Angeles Street, on the south by Pershing Square, and on the north by Civic Center. I was a busboy nonpareil, with great verve and style for the profession, and though I was dreadfully underpaid (one dollar a day plus meals) I attracted considerable attention as I whirled from table to table, balancing a tray on one hand, and eliciting smiles from my customers. I had something else beside a waiter's skill to offer my patrons, for I was also a writer.

The bestselling author of In the Heart of the Sea, Mayflower, and In the Hurricane's Eye tells the story of the Boston battle that ignited the American Revolution, in this "masterpiece of narrative and perspective." (Boston Globe) In the opening volume of his acclaimed American Revolution series, Nathaniel Philbrick turns his keen eye to pre-Revolutionary Boston and the spark that ignited the American Revolution. In the aftermath of the Boston Tea Party and the violence at Lexington and Concord, the conflict escalated and skirmishes gave way to outright war in the Battle of Bunker Hill. It was the bloodiest conflict of the revolutionary war, and the point of no return for the rebellious colonists. Philbrick gives us a fresh view of the story and its dynamic personalities, including John Adams, Samuel Adams, John Hancock, Paul Revere, and George Washington. With passion and insight, he reconstructs the revolutionary landscape—geographic and ideological—in a mesmerizing narrative of the robust, messy, blisteringly real origins of America.

Available Now: World-famous musician Ry Cooder publishes his first collection of stories.

On summer nights on downtown Los Angeles's Bunker Hill, Grand Performances presents free public concerts for the people of the city. A hip hop orchestra, a mariachi musician, an Afropop singer, and a Chinese modern dance company are just a few examples of the eclectic range of artists employed to reflect the diversity of LA itself. At these concerts, shared experiences of listening and dancing to the music become sites for the recognition of some of the general aspirations for the performances, for Los Angeles, and for contemporary public life. In Sound, Space, and the City, Marina Peterson explores the processes—from urban renewal to the performance of ethnicity and the experiences of audiences—through which civic space is created at downtown performances. Along with archival materials on urban planning and policy, Peterson draws extensively on her own participation with Grand Performances, ranging from working in an information booth answering questions about the artists and the venue, to observing concerts and concert-goers as an audience member, to performing onstage herself as a cellist with the daKAH Hip Hop orchestra. The book offers an exploration of intersecting concerns of urban residents and scholars today that include social relations and diversity, public space and civic life, privatization and suburbanization and economic and cultural globalization. At a moment when cities around the world are undertaking similar efforts to revitalize their centers, Sound, Space, and the City conveys the underlying tensions of such projects and their relevance for understanding urban futures.