photo credit: ding ya lan
BY ANNA BROOME
A star in his own universe this California born kinetic, pornographic, cultivated painter explores, sets down in reds, yellows, black and white every aspect of savage warriors, mind-soiled thinkers, war-torn, machine-gun-carrying prostitutes, cloned parishioners and excess-driven dictators. Yes, the work has an apocalyptic style but one from the perception of an enthusiast there as much for the ride he creates for himself as the viewer.
The work is controlled as Elvin seems free working from within his mind as he expels characters and scenes.
Elvin begins painting as a young child with few memories only evidences of sleep-created art work. “I would wake up with drawings all around me. I wouldn’t remember any of it.”
Elvin’s artistic talent is a birthright of sorts as both his mother and father are accomplished artists. “My Mother didn’t start painting until she was 40, but my Father was always an artist, renegade of sorts.” Read more
By ANNA BROOME
Tawny Ellis, Los Angeles based musician, singer, songwriter “unlocks and elevates the many mysteries of life” through her new Muscle Shoals inspired and recorded EP Ghosts of the Low Country. For Ellis this EP is a way she takes a glimpse of, senses a connection with people from the close to her heart South.
Mining influences as varied as Patsy Cline, David Bowie, Joni Mitchell, and Willie Nelson, the Los Angeles-based songstress channels that dynamic into an intricately textured blend of folk, rock, and alt-country that’s intense and masterful but irresistibly intimate.
Ghosts Of The Low Country is due for release in summer of 2015 and brings to life the real sounds of its indigenous title. The four tracks making the EP include collaborations with her long time partner, Gio Loria as well as members from Athens band Five Eight and bassist Peter Hamilton.
Art Share LA, a community art center located in Arts District Little Tokyo has been the home and gallery of emerging artists since 1997. Cheyanne Sauter, The Center’s Director of Operations, sees Art Share LA as a place for emerging artists to find their voices, styles, concepts without judgement or discrimination. Sauter’s tagline for the community center is “Creation not curation”, which describes perfectly Art Share’s devotion to the early stages of development for artists ranging from musicians to painters, sculptors to writers, dramatists to dancers.
As in the case of any quality non-profit centers, Art Share LA depends largely on donations and contributions to keep it thriving and evolving.
After almost two years of bringing Art Share LA above par financially, Cheyanne Sauter now looks to the future for Art Share LA.as a creative art center with global reach. The center houses artists and community residents with more than 90% of renters being artists. It is the lone wolf resident destination for an every growing and rent increasing district. This shows the importance of a place like Art Share LA that not only offers a gallery, theatre, work spaces, classrooms and classes accessible financially for almost anyone wanting to extend or learn art forms but also a residence in the very location where artists create and thrive off one another. Read more
Conde, rehearsing with mezzo Soprano Kindra Scharich
By LIONEL ROLFE
When I was not yet quite a teenager, I spent a few years studying the classical guitar under Dorothy De Goede. She was a strikingly beautiful woman who had been a student of Andre Segovia. I was, of course, in love with her even though I was barely a decade old. I then wanted to study flamenco, so my parents sent me to Carlos Montoya. I loved flamenco but Montoya’s best and most patient coaxing did not teach me how to unfurl my right hand with that particular flamenco sweep. I should have had some genetic disposition. My dad was half German-Jewish and the other half Portuguese-Jewish. His mother grew up speaking Ladino in Seattle. The few remaining Ladino speakers lived in Seattle at that time–La dino is a combination of Hebrew and Spanish.
Yiddish is Hebrew and German. Appropriately my father, a scholarly judge by profession, loved the classical guitar, an instrument whose popularity really began with Segovia. The guitar, like a piano, can be a whole orchestra. My father also loved lutes, and we regularly went to the lute club. My dad loved to play the guitar in his heavily wooded paneled study where he also smoked his fine cigars. Maybe that was the Iberian in him, and I got a bit of it too, by osmosis if not genetics. In retirement, my dad spent a lot of time in Spain and Portugal, acquiring more guitars. Read more
By LIONEL ROLFE
The Goddess Pose: The Audacious Life of Indra Devi, the Woman Who Helped Bring Yoga to the West By Michelle Goldberg 352 pages hardcover Knopf $26.96 June 2015
I grew up around some of the biggest name in Yoga, yet never was much attracted to it. My uncle, violinist Yehudi Menuhin, one of the very greatest if not the greatest violinist of the last century, has been credited with bringing Yoga to the West. In 1953 the image of him in various esoteric positions occupied a number of pages in Life Magazine. In those days, millions of people read Life.
This led to my mother, Yaltah Menuhin (also a child prodigy musician, a pianist), getting a call from Marlon Brando. My mom reared me so I saw few movies or television in my earliest years. She thought both were pernicious. She always said that the day a television entered the house, she would walk.
But she made an exception for Marlon Brando. She had just taken me to see Brando’s “Teahouse of the August Moon.” She took me to a couple of other movies as well—“The Red Balloon,” and a series of the classic Greek dramas produced by the Canadian Broadcasting Company. My mother had known queens and kings and great musicians and writers of all kinds. She used to join the Queen at dinner in Buckingham Palace regularly. She never was overly impressed. But Marlon Brando was different. Read more
Soon enough that night, the East Village block where I was standing became a blur of noise and furious confusion: first a cascade of lights from darkened windows as several retirees shouted into the street below, hurling obscenities at Daniela to stop honking the horn as she sat inside the car of her biker boyfriend, Veto Bandito. “We can’t sleep, you little bitch!” one of them yelled.
When Veto appeared on the street, waving his shot gun wildly, Daniela screamed at him, “Get me out of here, Veto! Now!’’
He glared at me for a second as I hunched against a brick wall, then climbed into the driver’s seat, gunning the engine.
As he drove forward, I could see two Hell’s Angels advancing on Veto’s Ford sedan. It sped past them, careening down the street. Someone fired several shots as the car turned a corner. Then there was silence and the lights of the retirees went out.
The Angels stopped to chat. “You alright, lady?” one of them asked. He was a big guy with shoulder length brown hair, an unlikely prince charming. On another night, I wouldn’t have minded having a drink with him. Read more
City Administrative Officer Miguel A. Santana released a 21-page report on L.A. homelessness April 16 to a chorus of criticism. The annual costs were much higher than people expected, conservatively at least $100 million, and precious little of that went to housing or other expenses that got anyone off the streets.
The amount looked like a lot, but in a city budget of $8.57 billion it came to just .017%, mainly showing that the city doesn’t take homelessness seriously and hasn’t made a significant investment in trying to end it.
Santana’s report concluded that the main achievement of the recent period has been the creation of the Coordinated Entry System (CES), which is working to replace the multiple first-come, first-served places where homeless people register for the extremely limited amount of housing, now with a citywide coordinated database that ranks applicants on the basis of need.
Beyond that, while 15 city agencies interact with the homeless, the study found “no consistent process across departments in interactions with homeless individuals, homeless encampments, or other issues related to homelessness, and no systematic efforts to connect the homeless with assessment and case management.” Read more
Anna Broome Of The Broome Room At L.A. Art Share–With Princess Frank
The Anna Broome Room Tawny Ellis, Marissa Gomez, Terry Ellsworth, George Joquim, Richard McDowell, Jim Marquez, Lee Boek, Colette Von, Anna Broome, Cato Stevens.
It is 7 AM and the world is dark in the Art District. There is no one awake who may account for the happenings from the night previous. I lived here many moons ago, but still today, everyday is the day before and the night after. The local coffee house is alive with the hereafter represented inside a kind of world no one but the artist may explore: A simple continuing idea abounds from what is the mindset of love and art inside a love and art mind. I came here for the sake of art and kindness of home but like Dylan said, “A home I had never known.”
The ties Tatiana Von Der Schulenburg toes on the telephone post symbolizing gentrification
Bloomfest, an annual cultural festival honoring founder of the Arts District Joel Bloom
Meet the talent.
The morning I moved into the American Hotel was after the death of my boyfriend. I had no where to go. I had been given the cover of Citizen Magazine for a collection of paintings I created on drywall and thus introducing me to the Arts District by way of the art show to follow at The Continental Gallery at Fourth and Main. Long time Arts District member Rick Robinson, who later heads the Art Share board, came to the gallery while I was still working on paintings for my show to open there, Feminine Dissection. He brought me paints and stayed with me as I worked feverishly to finish the work for the show. I can still see him coming into the gallery at midday with a bag full of oil paints and a smile. I didn’t know where this guy came from or who or what sent him, only that he must belong to something wonderful, supportive, where an artists collect extends themselves to other artists, all just trying to survive and get the work done. Through Rick I met many fellow artists and just like I imagined there was a brilliant collective of artists not unsimilar to vampires who formed a kind of coven located in Little Tokyo. Read more
It all began with the parkway to Pasadena in 1939. American Freeways were inspired by Hitler’s Autobahn
BY LIONEL ROLFE
Some of the people seated around the long table in the elegant dark wooded South Pasadena home have been fighting the idea of a five-mile long tunnel nearly 200 feet beneath their feet for decades. To them, that tunnel is the hydra-headed monster that they beat down, but only for a while, and then it pops up again. It’s like a cancerous tumor that can never be removed.
About the time Caltrans and Metro recently released a new Draft Environmental Impact Report/Statement which once again advanced the notion of building the tunnel, this group of veteran tunnel fighters were meeting to take stock. The report also suggested alternatives to the tunnel, ranging from realignment of existing streets, or putting in a lot of light rail or doing nothing.
As far back as the ‘70s and some say even back to 1939, Caltrans’ intention to complete the Long Beach (710) Freeway’s from Long Beach to Pasadena was always part of the plan. But for years, the plan has been foiled in court by the No 710 Action Committee, acting in alliance with cities like South Pasadena and the Sierra Club. In other words, the people here in the room. Read more
By DOUG WEISKOPF
I recently received an announcement of a new academic dean at my alma mater, Portland State University. It instantly brought back memories of one of my favorite people during my student days at the university during the late 1960′s, Dean of Students, Channing Briggs. As a member of a group of anti-Vietnam War protesters I was a part of constantly challenging his authority and railing against him for trying to keep a calming atmosphere on campus, when we felt that red hot rage was the only morally appropriate response possible to the war.
Once when Dean Briggs tried to put myself and four other students on disciplinary probation for disrupting on-campus military recruiting we were brought before a student/faculty hearing committee, which we not only attended but packed the room with several dozen sympathizers who booed when Dean Briggs sat down to make his case against us (it was like that comical scene in the movie, “Animal House, made a few years later). During the middle of his testimony as to why we should, in effect, have our hands slapped by the school, he began to fight back against his own impulse (unsuccessfully) to start giggling at the absurdity of the comic opera he found himself involved in. Read more