Walking with the ancestors this morning at Angelus-Rosedale
FOR A COUPLE of months now, I’ve been telling a friend about an ongoing issue I’ve had with one of the baggers at my local market. Not a huge issue, but a head scratcher. Strangeness sunk into the mundane.
A few weeks ago, he refused to sort or bag my purchases. Just walked away, arms folded, head-shaking — to the checker’s chagrin. My friend suggested that I stop spending money in the market — especially since it hadn’t been the first time (this head-shaking incident was just a bit more dramatic than others prior). “That’s why you pay a little more. Avoid that mess.”
Well today, I needed to make a quick neighborhood run. No time for fancy. I head to my old spot. I’m almost out the door with my essentials — my coffee stash, fixings for dinner. I have almost successfully avoided him when, just as I near his checkout lane, he does a quick double take and then pauses to crook his finger in that “come-over-I-have-something-special-&-top-secret-to-share” manner.
So I do.
He asks: “Do you know Mike Jackson?”
I say no. (Not realizing where this is going.)
He says: “Well he’s in heaven. Prince is on his way too, you know.” He winks. Like we’re old friends, sharing some insider 411.
Then comes the smile.
I suppose all this must be his version of a truce.
(image via mashable)
TO CELEBRATE this year’s Big Read title, Fahrenheit 451 — and its author, the late Ray Bradbury — we’ll be convening 4/17 at the Craft and Folk Art Museum to chronicle your L. A. stories on the spot. The event “Type Writer: An Afternoon of L.A. Stories Typed Before Your Eyes” will be held from 4 to 7pm in the Museum courtyard. Bring your typewriter and join in. For more information about the event and The Big Read click here.
I’d better get my “home row” fingers limbered up.
SOME POIGNANT New Years Day news. Like many, I woke to hear of the passing of Natalie Cole.
For me it was a layered loss. I’d done some work for Carole Cole for a box set of her father’s work that came out about a decade ago. I’d felt lucky that I had been trusted write liner notes that would look at not just her father’s musical arc but the family’s history in Los Angeles. Like so many I grew up with stacks of Nat Cole records leaning against the hi-fi. On top of that, simply put, the Coles were L.A. royalty.
It fell to Carole in later years to keep watch over the estate and the music rights and through it was in consult with Natalie. Together they protected that story, the legacy. Every anecdote, every date, every memory was checked and double-checked. Legacy was as important to them as was his burnished voice.
Looking at the photo above, it’s impossible to wrap my brain around the fact that they are all gone. What’s hit me more than anything is that the season started officially — as always for me – on Christmas Eve when I first heard Nat Cole’s “The Christmas Song.” And the season ended upon hearing the news of Natalie’s New Years Eve passing.
Some sad magic symmetry.
It’s been quiet around these parts because I gave myself a deadline on three rather big projects. Lots of looking, thinking, writing and revision.
Turning a corner and the details of landscapes are coming into view, so should be back to a regular rhythm of posting soon.
I’m enjoying the season shift.
NICE PIECE up at Los Angeles Magazine by Jesse Katz about Westlake’s “slippery oasis” known as MacArthur Park.
The people who turn up in the lake these days may look different from those who perished a century ago. They may come from different parts of the world and inhabit different social echelons. We may have a more sophisticated vocabulary for their breakdowns, a more nuanced understanding of addiction and despair. But the guile of the lake—the melodrama of our city—is not a modern condition.
Every fall, I think about my old across-the-landing neighbor who worked graveyards undercover with LAPD, his beat to spin around those shadows in the Park. I know he could write a book or two. Jesse’s piece brought all that back…me standing, balancing with my laundry listening to native noir stories.
More of Jesse’s wonderful, moody piece here