Umberto Tosi’s ’60s Yarn Continues With Chapter 13; Shotgun Psychos
(Umberto Tosi, author of Ophelia Rising, was an editor and staff writer for the Los Angeles Times from 1959-1971.)
Detective Sergeant Jacob Imhoff was just another burned out cop, tough-but-fair, maybe a decent guy, hard to read. Roy could see all that – and knew what else.
They sit opposite each other in a booth at the back of Clifton’s Cafeteria on Broadway near Sixth Street, a place with a history, catering to mixed downtown clientele of drifters, downtown workers and tourists. It’s unfrequented by cops or newsmen, which makes it a good spot to meet. Roy examines Imhoff’s fleshy face for clues. With his graying crew cut and massive shoulders, Imhoff resembles an ICBM emerging from its silo. Imhoff plays off of his bulk and a striking homeliness that he’s made into an asset, alternating between King Kong and the Jolly Green Giant, menacing or jovial, always imposing. Read more
Chapter 24 Of “Exit From Eden” By Mary Reinholz
PIMPS STRUT THEIR STUFF
About an hour before the meeting with Ted Katz , I got a call from Jason Slade at my new sublet near the Chelsea Hotel, saying he was having problems with my magazine piece on runaway girls in the East Village.
“It has some holes in it, Ryder,” he grumbled. “You should try to interview more pimps who take those little girls in from the cold and then turn them out as street prostitutes. You just have one quote. I want to nail those guys. ”
“I’ve only seen a few small time pimps in the Village,” I told him. “They look pretty down and out themselves.”
“I’m thinking of someone known as Midtown Slim, a flashy pimp,” Slade said. “I hear he generally dresses to the dimes in a three- piece suit and carries around JP Donleavy’s cult novel, ‘The Gingerman,’ He might tell you about his fellow gents of leisure.” Read more
Artist Yuri Elvin: Golden Under a Solar Deity: A Profile By Anna Broome
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
AN ANNA BROOME PROFILE: Ghosts of the Low Country: New EP by Tawny Ellis
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.
ANNA BROOME Talks About A Fundraising Gala
By Anna C. Broome
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
Unlocking The Secrets Of That Incredible Flameneco Music
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
INDRA DEVI WAS NOT JUST A NICE OLD LADY
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
It Starts Getting Rough In Chapter 23 Of Mary Reinholz’s “Exit From Eden”
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 Spends $100 Million a Year on Homeless, Mostly with Few Results
Leslie Evans
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
Welcome To L.A. Arts District: An Insider’s View By The One & Only Anna Broome
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
Honey on the road to San Francisco with some of the Spanish explorers
NOTES FROM ABOVE GROUND
By Honey van Blossom
(Honey is a Belgian Marxist former strip-tease artiste)
"Cities of the Golden Gate," Raymond Dabb Yelland, 1893. Most illustrations can be enlarged by clicking on them.
Prologue to the story of the Spanish exploration and settlement of California
Seasonal migrations of animals now extinct in California probably created the roads the native people used before the Spanish land exploration of California. “The heyday of giant mammals in North America was the middle and late Pleistocene, an epoch that started 2.6 million years ago and ended 11,700 years ago, around the time the Earth was thawing out from the Ice Age. The gigantic beasts, which migrated from Asia across a now-vanished land bridge called Beringia, are known as Rancholabrean megafauna, after the famous La Brea tar pits in downtown Los Angeles — the graveyard of thousands of saber-toothed tigers, giant bison and other extinct animals.”[1]
The seasonal migrations of the large mammals may have created the substantial roads used by the indigenous people after their arrival.[2]
Paul S. Martin and Richard G. Klein argue that Paleoindian over-hunting led to the extinction of the megafauna.[3] Others argue that climate change was responsible for mammoth and mastodon extinctions. As the last major glaciation ended around 12,000 years ago, climate warmed too quickly for the megafauna to adapt.
