The Protest Zone
In order to provide security around the Staples Center, Los Angeles Convention Center (which housed print and radio media), and the large media contingent housed outside in a "Media Village", the LAPD, Los Angeles Fire Department and United States Secret Service designed a large secure zone surrounded by a perimeter fence consisting of K-rail barriers with a 10-foot fence rising up from it. The parking lots adjacent to the Staples Center were designated for the large Media Village (consisting of many trailers and media vehicles for the television press), transportation department vehicles, security checkpoints, as well as "VIP Vehicles" to be parked immediately in front of the Staples Center. As a result of this layout, the perimeter fence remained a city block away from the Staples Center, and placed the proposed space for the expected protestors (known as the "Protest Zone") a substantial distance from the event they were protesting. The proposed layout was diagramed and published by The Los Angeles Times.
Upon viewing the proposed layout, the protestors legally challenged the proposed fence route, winning a court judgement in their favor. As a result, the area for the VIP parking lot was moved elsewhere and the perimeter fence was redrawn to create a rectangular protest zone that stopped only a dozen yards short of the Staples Center entrance. This left only one open side of the protest zone for entrance and exit.
The protestors also won permission to set up a stage in the Protest Zone with sound amplification; and time on the stage was divided into hour-long segments and divided among the many groups wishing to bring up issues outside the convention. The LAPD was given permission take the stage and order the Protest Zone cleared if a civil disturbance was imminent.
Read more about this topic: 2000 Democratic National Convention Protest Activity
Famous quotes containing the words protest and/or zone:
“The lady doth protest too much, methinks.”
—William Shakespeare (15641616)
“Just like those other black holes from outer space, Hollywood is postmodern to this extent: it has no center, only a spreading dead zone of exhaustion, inertia, and brilliant decay.”
—Arthur Kroker (b. 1945)