Explore the desert southwest this week with #mypubliclandsroadtrip in BLM Arizona!
The BLM manages 12.2 million acres of public lands in Arizona. While association to the iconic Saguaro Cactus is commonplace, BLM Arizona offers so much more in the form of high plateaus, rugged mountains, hidden canyons, and lush riparian habitats! Join the #mypubliclandsroadtrip in Arizona for the exceptional beauty of its landscape and the fantastic recreational opportunities – with something for everyone.
Unbuilt freeways were planned in what are today some of L.A.’s most congested areas. The Beverly Hills Freeway was supposed to connect the 101 and 405 freeways along Santa Monica Boulevard and Melrose Avenue. Another freeway was supposed to run alongside La Cienega Boulevard, La Brea and Highland avenues, connecting LAX to the Hollywood Bowl. Routes were also planned following Pacific Coast Highway and train tracks that would have connected Manhattan Beach to the 405.
The Las Cienegas National Conservation Area in Arizona includes more than 45,000 acres of rolling grasslands and woodlands that connect several “sky island” mountain ranges and lush riparian corridors.
Located in the heart of the Las Cienegas NCA, the historic Empire Ranch includes a 22-room adobe and wood-frame building which dates to 1870 and is listed in the National Register of Historic Places. The setting makes it a favorite of classic western film fans. Red River, Duel in the Sun, Hombre, Winchester 73, The Big Country, and many others were filmed on or near the Empire Ranch – still a working cattle ranch to this day.
You can camp in this historic NCA for up to 14 days – just stay at least one-quarter mile from wildlife and livestock watering areas. Check out the two designated primitive camp and picnic areas: Cieneguita Camp Area and Road Canyon Camp.
Your daily dose of cuteness this #wildlifewednesday from Las Cienegas National Conservation Area in Southeastern Arizona.
These little “ecosystem engineers” provide burrows for other species and excavate nutrient rich soil that, in turn, provides rich vegetation for grazers. Since 2008, Arizona Game and Fish Department and partners have translocated approximately 400 Black Tailed Prairie Dogs to four sites at Las Cienegas NCA to improve grassland health and increase species diversity within their historical range. (Source: University of Arizona Website)
On Thursday, August 5, 1938, the Regina-Wilshire Theatre at
Wilshire and La Cienega in Los Angeles, trying to stave off bankruptcy,
began what was intended as a four-day run of a tripple-bill feature of Dracula, Frankenstein and Son of King Kong.
The bill unexpectedly captured the public’s imagination and became an
overnight sensation. It was soon playing 21 hours a day to packed houses
while police controlled the crowds queuing around the block. At the
same time, an unemployed Bela Lugosi, who, apart from one week’s work in
the Republic serial S.O.S Coastguard in 1937, had not been
offered film work for two years, was suffering dire financial problems.
At the start of the year, he had been forced to apply to the Motion
Picture Relief Fund for help with medical costs when his son, Bela
George Lugosi, Jr., was born on January 5th, 1938. His only work during
1938 had been an appearance on the Baker’s Broadcast radio programme on March 13th, on which he sang a duet with Boris Karloff. As
the crowds began to grow outside the Regina-Wilshire, he was forced to
move into a rented house when the mortgage company foreclosed on his
beloved mansion at 2227 Outpost Drive. Realising the goldmine he had
stumbled upon, Emil Umann, manager of the Regina-Wilshire, quickly hired
the unemployed actor to make nightly public appearances at the cinema.
Universal, which had rented the
films to Umann at a flat rate, found itself missing out on the massive
profits that the cinema was making. Quickly striking 500 new prints of
Dracula and Frankenstein, the studio set a publicity campaign in
motion and rented the newly struck prints to cinemas across the country,
which all duplicated the success of the Regina-Wilshire under terms
more beneficial to the studio. As the campaign gained momentum,
Universal, who had taken credit for Emil Umann’s inspired idea, pulled
their prints from the Regina-Wilshire after four weeks, leaving him out
in the cold as the profits continued to roll in. Bela Lugosi headed off
on a West Coast tour of personal appearances at cinemas to promote
the Dracula and Frankenstein double-bill. On October 17th,
Universal rushed Son of Frankenstein into production, heralding the
beginning of the second cycle of Hollywood horror films and the end of
Lugosi’s financial woes. Of his unexpected return to the spotlight, he
told the press, “I owe it all to that little man at the Regina Theatre. I was dead, and he brought me back to life.”
Five thousand people queued outside the Victory in Salt Lake
City to see the double-bill. Unable to meet the demand, the manager
rented the Broadway Theatre across the street and the films played
simultaneously through the night.