“In the meantime the Bottom had collapsed. Everybody who had made money during the war moved as quickly as they could to the valley, and the white people were buying down river, cross river, stretching Medallion like two strings on the banks. Nobody colored lived much up in the Bottom any more. White people were building towers for televisions stations up there and there was a rumor about a golf course or something. Anyway, hill land was more valuable now, and those black people who had moved down right after the war in the fifties couldn’t afford to come back even if they wanted to. Except for the few blacks still huddled by the river bend, and some undemolished houses on Carpenter’s Road, only rich white folks were building homes in the hills. Just like that, they had changed their minds and instead of keeping the valley floor to themselves, now they wanted a hilltop house with a river view and a ring of elms. The black people, for all their new look, seemed awfully anxious to get to the valley, or leave town, and and abandon the hills to whoever was interested. It was sad, because the Bottom had been a real place. These young ones kept talking about the community, but they left the hills to the poor, the old, the stubborn–and the rich white folks. Maybe it hadn’t been a community, but it had been a place. Now there weren’t any places left, just separate houses with separate televisions and separate telephones and less and less dropping by.”
from Sula, by Toni Morrison
SOME PHOTOS from the penultimate dinner service at Hop Louie Restaurant in Chinatown. Among my favorite moments was watching multi-generational families slide in for their last meal trying to recreate dinners long past. Too: the young Emo couple slouched over sweet & sour which they paid Dutch for with a pile of crumpled bills and change. One waitress said she was ready for a long vacation after 25 years. One of the owner’s children gave us a crash course on the historic hows and whys of “Chop Suey cuisine.” “If you don’t have bok choy you use broccoli.”
I hadn’t been in that building for dinner since the 80s. Which of course was the echo of the evening. A fact about which the ready-for-vacation waitress quipped: “If we had only been busy like this every night….”
Yes. If only.
The first floor bar is to remain open for now. Upstairs? “Maybe movies.” Another server speculated. Always some scratch in location filming.
Those spareribs and crab Rangoon were just as I remembered from Sunday downtown dinners with the extended family decades ago.
Happy to have the memories but sad to say farewell to all of that.
L. A. leaves us bit by bit by bit.
“Where ya headed cowboy?
Nowhere special? I’ve always wanted to go there.”
Farewell, Gene Wilder
NYT obit, here
So late on my summer L.A. to LA post. But we sometimes cut it close.
Here is some Louis and Ella for the ride from LAX to MSY …
In honor of summers gone:
I HAVE been so buried in duty that I’m late in posting this piece that was up over at Artbound last month, but it’s an evergreen.
There is a particular L.A. that resides in native Angelenos’ minds. They are personal Los Angeles-es — of different moods, eras, compositions. John Reynold’s work taps into that thread of memory. He retains it so we don’t have to work as hard.
I profiled Reynolds, a musician and painter, whose era of speciality, as he’d say himself,
is “the period of time between the two big wars — First and Second.”
This piece was reported over a long period of time, mostly because I wanted to be in both of Reynolds’ worlds — the music and the art — and really understand how they both occupied his imagaination. That meant I drove to Disneyland and California Adventure where he has a regular gig as part of several of the “atmosphere” bands. As well he plays clubs and bars, theaters and back rooms across the city and country for huge swing dance followings.
But the art is something that he’s been working on quietly over the years and it evokes, visually, the music that he finds himself most happy sailing around in. It’s also a powerful trigger of memory for those of us who have watched Los Angeles move away from us.
From the piece:
Reynolds knows it can be treacherous business dealing in nostalgia. There are all manner of trick wires, trap doors and uncomfortable — “Whose nostalgia?” — truths to confront. But as a musician and painter who firmly situates himself in the landscape of history and memory, conveying a sense of home, especially in a constantly remade Los Angeles, is its own tight-wire act. The things that both located and grounded you are sometimes gone before you can make full sense of them: “You look up one day and there’s just an empty lot and a tractor.”
For Reynolds, a fifth-generation Southern Californian, history has a heavy presence. It’s palpable at every turn. It’s often a past that most people can no longer discern: It’s been bulldozed, retrofitted, rethought or stuccoed-over. That’s why his creative output, for as long as he can remember, has been dedicated to bringing those stories to the surface and rekindling unfinished conversations about place: “I guess you can say I’m haunted — in a positive and negative way,” he reflects. “I’m sorry that so much of it — that feeling is gone — but I am glad that I can remember it.” And there’s legacy to protect.
Months ago, I visited his home studio in Glendale and got a sense of his history (he’s the grandson old-Hollywood actress ZaSu Pitts) and over the last four decades has worked in music ensembles that specialize in playing early-20th Century popular music. The mosaic of images below are from that afternoon visit (before our walk around the “ghost” houses of Pasadena).
“I am forced to believe that we can survive whatever we must survive. But the future of the Negro in this country is precisely as bright or dark as the future of the country. It is entirely up to the American people whether or not they are going to face and deal with and embrace the stranger whom they maligned so long. ”
— James Baldwin