Category Archives: Culture

Get Ready for the Doomsday Year

Not since 1000 AD has there been so much apprehension about the new year.

It’s the end of the Mayan Calendar, the lining up of the sun with the galactic core, the sun is entering a dust cloud in this part of the Orion Arm of the Milky Way.

Not to mention global climate change, war, earthquakes, tsunamis, pestilence, epidemics, erupting volcanos, bad haircuts, asteroids, comets, exploding calderas, high rents, and seven billion people crammed into this little planet.

But then again, maybe it’s the dawning of the Age of Aquarius, which means:

Harmony and understanding 
Sympathy and trust abounding
No more falsehoods or derisions
Golden living dreams of visions
Mystic crystal revelation
And the mind’s true liberation

 

The Beachhead’s wishes for the coming year include more power to the Occupy movement, the mind’s true liberation, a happy and free Venice, and a prosperous (in all ways) new year to all our readers and supporters.

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Boats Parade in the Venice Canals

By CJ Gronner

One of the most adorable things you could ever do in Venice, California is attend the annual Holiday Boat Parade in the Venice Canals. This year was the 30th one, and I think it might have been the best yet. I say that because the mood of the boating participants and the attendants that packed every narrow sidewalk and bridge was sheer buoyancy … and there is no pun intended there. There were plenty of to-go cups in gloved hands (it was beach chilly), but even without that help, everyone seemed to be in stellar spirits as they cheered and caroled under the clear, full moon evening. The Epstein-Mayers hosted the pre-party I attended (Thank you, our gracious hosts!), and we got our group gathered and canal-side just in time to see the first boat sail by, poled along, appropriately enough, by some old-style gondoliers (and “Mr. & Mrs. Abbot Kinney” that I didn’t know). Perfect.

Right on their tail was a militant duck contingent bearing signs like “Duck-U-Py The Venice Canals” and demanding their just nest eggs. Venice always has a sense of humor, and we love it.

There was a fully-amped rock and roll band made up of both Christmas characters and Super Heros. This may just have been my favorite, for fun, enthusiasm and, of course, rock.

You can be as elaborate or as simple as you like in this parade, a big pontoon-type deal, or a single kayak for one, as long as you’re having fun.

The crowds lining the bridges and sidewalks shouted their approval the whole time, and the number of people only increased as the sun began to set. It was so pretty out, people were just gasping … locals and visitors alike.

Pop culture was well-represented, from vessels celebrating Barry Manilow (yes it was ) to Snoopy’s doghouse and the Starship Enterprise.

A darling little family of reindeer? More gondoliers? Fire people? were led by the exuberant patriarch in singing some rousing Christmas numbers, with the little kid barbershop quartet on the choruses. I thought I might explode from the cute factor. Happily.

Hanukkah was given many shouts out by the happy Rabbi in his Menorah/Dreidel (that spun!) boat. He was a big hit, especially with the kids shouting out for candy (chocolate gelt). It’s funny, the parade is like the new trick or treating, or Mardi Gras … kids seemed to expect the boats to throw out candy … Noted.

Even the dogs got into the act, as seen by this little reindeer dog, though his coat did say “Bark Humbug”. Hmmm.

Robin the Snow Queen sailed by with a real fire burning in the bottom of her boat. Very cool. It gave me ideas for the Viking Ship we plan to set sail next year.

The sunset turned the whole sky pink and the lights of the homes and bridges (and boats) began to twinkle in a breathtaking twilight you couldn’t even make up. Everyone looked beautiful … mostly because everyone looked so happy. Truly, even if it was just forgetting about regular life stuff and problems for the moment, and being present and appreciating life and fun and Venice and NOW, while we had it.

I think that’s because you couldn’t help but feel the HOLIDAY CHEER everywhere you looked, especially on this boat, with the coolest, happiest Snowflake Man (with his Christmas Tree friends on back-up vox) riling up the onlookers and getting them/us/me to join him in Karaoke Carols.

As the sky darkened and became more moon and star-lit, the boats wound their way around the canals, with more applause and cheers at every turn. The parade ended and the house parties around the canals began (though many looked not to be at home … are they crazy?! Those houses were MADE to be home on this night more than any other!),we paraded on foot back to our party, but not before being greeted and embraced and invited in by just about every friendly face you’ve ever encountered in town. Right up until this night, I hadn’t been feeling the holiday swing so much yet, with so many other things going on all the time, and time itself flying so fast. But then, as you see, the holidays were jump-started right in front of our faces!

The rowdiness eased into a full moonlight serenity after a while. We rode our bikes back through the canals later on, and I had to pause to soak up the simple loveliness of a Christmas-lit bridge with its reflection upon the water. I gave myself the moment for my own reflection, and with that, BANG! The Christmas Spirit was fully upon me. I’m feeling it! And I hope you are too.

With all the hubbub of the Season … remember to reflect. Appreciate. Have FUN!

 

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Filed under C.J. Gronner, Canals, Culture, Events

Fear of Drumming

Ronald K. Mc Kinley

The current Venice Drum Circle is about twenty-two years old. I say current because the VDC has origins before I came to Venice. When I came to Venice there was no circle. The VDC of the 60s and the 70s was finally beat down. I talked with players of the old VDC, seen the Beachhead of the 70s about the assault on the old VDC. This new VDC is under assault.

Twenty-two years ago Randy Banks, Rasta Randy, fathered this new VDC into being. Randy and I and Deon, I can’t remember his last name, played on the boardwalk for money, that was the idea.

Randy would do capoeira, the Brazilian dance of African origin that incorporates martial arts, Deon would play drums, I would play the agogo, a double-coned bell joined at the tip of the cones, played with a small metal rod.

The police had other ideas. We were always stopped. We played from Rose to Windward. We were very good. We loved what we were doing. The complaint was of noise, most times we could not be heard above the din of recorded Muzak on the boardwalk. Randy took us to the hill just we three.

The hill at Breeze became our church. Randy would preach, I just wanted to play. We three would meet every Sunday Randy would start the circle with a prayer. It started with two drums, and a bell, and three black men from different parts of the country. We would form a circle join hands and pray. Alcohol was not permitted We would stop playing until the person left or stopped drinking.

This lasted for years. We asked people not to smoke in the circle. We didn’t stop playing for that.
No stick drumming was allowed. What a difference twenty-two years make. Skin on skin the real drumming. The drumming of birth, death, harvest, marriage, war. The stick drummers just play loud not better.

A friend of mine died while I was playing, 15 years ago, bled to death. I was in the zone playing on the hill. There was a big crowd that day. His throat was cut by a jealous boyfriend. I saw the paramedics when they arrived. I found out the next day.

There are new residents in Venice who move here for peace and quiet. The quirky and colorful that make Venice, Venice, are a problem to them. We can’t be turned off like an iPod or mp3 player. “Life, Liberty and the pursuit of Happiness.”

There are fissures and factions inside the VDC. Players with very little talent or schooling and loud stick driven drums give the Sunday VDC a rave-like quality. Circle within circles, within circles make the drumming a wall of noise. Egos bumping egos don’t make good drumming.

The police come at sunset and stop us from playing. The drumming on the original spot is stopped at two or three pm. We are told that there are complaints of noise. The music from the businesses overpowers us.

I have in my twenty-two years drumming in VDC met and played, with drummers and dancers from all places on earth that have drummers and dancers. Music brings people together. Dance frees all who dance. Children are the best indicator of the effect of drumming. They sway, hop, jump and whirl about.

In New Orleans, my place of birth, drummers got together in Congo Square, the only place in America that displaced Africans could play drums. On weekends the slaves where allowed to dance, sing, speak their mother tongue. Several different languages were spoken music united them all. Music from the west coast of Africa. Jazz was born from the mixture. Mainland America still thinks the slaves are going to revolt it’s the drums, alas this is not true.

Rasta Randy moved to Hawaii. He bought some land. He finally got his money from the VA and may still be living in a tree house. Deon moved back home I don’t remember where. Yours truly still goes to the VDC. A friend of mine loaned me a drum. The police impounded my car with my drums inside.
I could not get them back. I was house-less and penniless at the time.

I see different factions trying to gain control of the VDC, some want to make it commercial. Some have darker reasons. Most of them can’t play. I go to commune with nature. I don’t go to get laid. If you play well this is a given.

I am so present in my drumming, so in the moment I miss most women. I don’t go to get wasted. No drug can replace playing. I am back in Africa.

Little by little the police are stopping, cutting our actual playing time. The first amendment to the constitution gives us freedom of speech and the right of assembly. The police come blast their sirens. Sometimes the police helicopter flys overhead, met with hundreds of middle fingers raised to the sky. The sand patrol stays until there is no more drumming. A friend of mine once kept playing and was cited. They did not take his drum. They use this as a threat. I always say to the crowd “welcome to America” as we walk through the sand, back to the boardwalk. Is this America?

A couple of years ago they rushed the VDC and ran over a young man. They chased everyone away before most people knew what was happening. The ambulance was parked at Rose. I saw them load the injured man on a board. I still to this day don’t know if he lived. They would not talk to me or to the man’s cousin, whom I talked to. There were 15 police lined up ready for our reaction.

People with money have moved into the red brick building at Breeze and the Boardwalk. They don’t like the drumming. The Highway Patrol once came and stopped us from playing. The police where busy with real crime. The patrol car parked on Breeze. A very large, black patrolman walk over to me and told me that the people in that building pay three thousand dollars a month to stay there. Money trumps rights. It is time for the slaves to revolt.

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Filed under Culture, Ocean Front Walk, Ronald McKinley

William Attaway Featured Artist

By CJ Gronner

The Other Venice Film Festival is honoring William Attaway as its Featured Artist during all the screenings at Beyond Baroque (October 13-16th) so I thought it was about time I and We got to know a little bit more about the man behind a lot of the art that we see in Venice every day.

Known around town as simply “Attaway”, he is probably best known in these parts for his beautiful mosaic column looking out over The Breakwater (by the beach park for kids next to the Police Station), creating a circle of calm amid the Boardwalk madness.

Born in New York to artist parents (and Grandparents – his Grandfather designed the interiors of Radio City Music Hall), Attaway took after them, and was always an artist himself. They were a black and white family and in the early 60′s with all the assassinations, it could be a scary time for bi-racial families, so Attaway’s family moved to Barbados, where they lived “the simple life” until he was 13. Attaway always loved to draw, and spent many of his days watching men make pottery in kilns built right into the side of Barbados’ Chalky Mountain. This was mainly to escape the wrath of a hard core Grandma, but his love of clay was discovered during those long afternoons of observation.

The family re-located to L.A. for his Dad’s work, and soon young Attaway was working as a 16 year-old assistant to Brian Scheller at a ceramic studio called The Pot Farm (now called the Clayhouse) in Santa Monica. After blowing up the kiln on his first day – literally – Attaway worked extra hard to learn all he could about ceramics. His pots grew bigger and bigger, as “there is no limit to clay”.

Attaway came down to Venice a lot to skateboard, and soon decided to drop out of high school (in 10th grade) to go in on an art studio with his friend. His Dad said he could if he really meant it and created a body of work. “So I did.” He sold out every community art show he entered, and walked around with a bunch of cash in his pocket as an 18 year old artist. A good time in 80′s Venice.

The art continued to expand as Attaway began to think of his sculptures more architectually, influenced by Gaudi, and he felt the urge to create something that hadn’t been done before. When plans for a Venice Arts Mecca school at the beach (where he was going to teach ceramics) fell through, Attaway applied to be the artist to create a work at the site of the former Venice Pavilion. The architect for the area had been looking at Attaway’s columns done for the Pomona Metro Station when the news came in that Gratefuk Dead guitaristJerry Garcia had died. The guy had been close to Garcia and was very upset, and took it as a sign that he should give his blessing to Attaway doing the art. Over 500 applicants, down to 8 finalists, and Attaway walked in to give his presentation right after Robert Graham had given his. But Attaway didn’t even have to finish his whole spiel, as they agreed with him right off that, “I knew what should happen here. I grew up here.”

From 1995-2000, with an entire year on physical labor alone, the 25 foot beach column was brought to life. Through the hard work of two people – Attaway and his best friend, Kenny Roberts – 5 tons of clay, 25,000 gallons of cement, and lots of short ribs between them and the Filipino security guard, the column was finished and “It’s a dream come true.” To have a signature piece of Venice art of his own making in his own backyard, in what his kids now call “Papa’s Park” truly is the kind of gratification any artist would aspire to. He does say it was not a pleasure to work with the City, and that things really came together in a great example of community over bureaucracy to get the project completed.

That community is the same thing that has kept Attaway in Venice all these years. “There is a love of family here, and a love of art that has kept Abbot Kinney’s vision intact. Venice still resonates with that intention.” Of course, Attaway has seen the changes we all have, but as he sees it, “Venice was a scary place, you had to watch how you walked, there were major shoot-outs you would not believe right in front of here, crack trucks, gang murders, people were literally giving away their mortgages,” so the fact that I didn’t even think about all that when I came to see him is actually a really big improvement.

“It’s not gentrification that splits us apart, it’s War-ification. How our money is spent, what programs get funded … war over art, greed and instant gratification … not looking at the big picture … The more fighting that goes on outside, the more goes on inside.” In order to combat that, Attaway feels that people need to stand up and revolt. How can everyday people do that? “People don’t know how to wait for their food to grow anymore. You can grow your own food. You can drink lots of water. You can ride bikes and not use cars.”

To that end, Attaway’s new series of paintings is called “Gardens”, and his favorite place to have coffee in Venice is in his own garden. He thinks there should be signs when you enter Venice that say, “When you enter Venice, Bikes have right of way”. There should be vacuums in the alleys so you can suck up the glass and stuff so everyone doesn’t puncture their tires. There should be naked Police. Naked Police will stop violence, people would just take one look at them and stop.” We talked about Cityhood for Venice, which he’s all for and said, “Venice IS the original Hood City, so, yeah. Everyone who goes to Disneyland comes to Venice the next day for free to chill, so we should be getting more than the 1 percentfrom the City Of L.A.”

Attaway thinks that Venice is a place “where a lot of people have made their lifestyle dreams come true.” From skating back in the day with Tony Alva, having the dream of a skatepark on the beach come true, they MADE that happen. From a mailman who does his route and then goes fishing every night on the pier, he MADE that happen. “Look at the drum circle – I call it the Chaos Circle – The Boardwalk is the end of the Earth. I love it.”

You can see Attaway cruising around on his bike: Getting food at the La Isla Bonita taco truck by Gold’s Gym that he did mosaics for. Eating at Axe. or Danny’s Deli for matzo ball soup, or James Beach for chocolate souffle. Or late-night octopus and martinis at Hal’s (”I want my art hung in Hal’s when I grow up”). Drinking at Venice Ale House or Oscar’s (”the #1 new hot spot”).

You can see Attaway’s art all over town (The Column. Mosaics on beach bathrooms. Mosaic at Tabor Courts VCHC. Etc…Etc..), see art documentaries on him by his friend, Venice local Christopher Gallo, or just go by 334 Sunset on Saturday or Sunday and see if a Flying Man statue is outside. That means you can go in and see his art works in progress. There might be musician friends playing, there might be a chef friend cooking up a feast, and “What happens, happens.”

As true a Venice statement as any I’ve heard.

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Filed under Art, C.J. Gronner, Culture, Feature, Interviews

Two Barrie Plays

By Suzy Williams

Have you had a good cry lately?   Have one at the Pacific Resident Theater: there are two gems by J.M. Barrie, and the second one’ll getcha. Both of them are about older women, younger men, and deception, and they’re both rife with witty Victorian English, as might be expected.  The first, “Rosalind,” is a delightful romp, addressing Barriesque explorations of “ever-youth,” but from a completely different angle than “Peter Pan.”  I was lucky to catch the director, Dana Dewes, filling in for the leading lady Saturday night.  She brilliantly met the challenge of the role of Mrs. Page, who goes through a remarkable transformation in this compact one-act. Like “Peter Pan,” the story is a stretch for the imagination, but with such supple writing and remarkable performances, disbelief is suspendible.  Kevin Railsback is charming as the handsome, baffled swain and at one point does a pantomime of frustration that is quite fun to see play out.

Nick Santiago, the set designer, did a bang-up job of changing the different worlds of these plays with a whirling backdrop that could have been made into a show in itself.

But it is “The Old Lady Shows her Medals” that holds the tearjerker cards. Penny Safranek and Joe McGovern turn in ace performances in a story of the glory of human desire to create and maintain human relationships.  Ms. Safranek is gamine and graceful as she comically displays her contrition and affection for a young Scottish soldier. Actor McGovern does the soldier to a T. He runs the gamut from macho bravado to … well, you’ve got to see it.

One thing about going to Pacific Resident, besides the sheer convenience of world-class theatre right here on Oakwood and Venice, is that returning to catch another play, you’re likely to see that actor who knocked you out two months ago doing something completely different, with a different hair color! It’s just so damn rewarding.

“ROSALIND” and ”THE OLD LADY SHOWS HER MEDALS” by J.M. Barrie

Directed by Marilyn Fox and Dana Dewes

Through October 2011

For reservations, call 310-822-8392

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Growing Up Latino: How Cesar Chavez Inspired A Generation

By Yolanda Miranda

Latinos were once known as the “sleeping giant.” Not only did they wake up, but they have roared in disenchantment over the proposed policies of this government against them and their families.

¡Ya Basta! Enough is Enough! Although they cross the border to come work in this country illegally, the majority of these workers contribute to the economy, not take from it. They pay taxes, work the jobs that most Americans will not work, and which pay only the minimum wage or even less.

At one time the majority of farmworkers were U.S.-born, but as they left the fields to work in factories and other trades, they were replaced by undocumented workers. In the cities, many of the undocumented workers are “day workers,” doing construction work or any type of work while being paid low wages, and many are robbed of their wages since there aren’t any laws to protect them.

Many who are vilified as “illegal” are parents whose children are fighting and being wounded or dying in Iraq. More than 37,000 non-citizens serve in the military, mostly in Iraq.

Racism and injustice have not been eradicated in this country, but the civil rights movement has been given a breath of life and spirit this past Saturday. If undocumented workers can organize themselves, we need to support their efforts and learn from them to get rid of the Patriot Act and get out of Iraq now!

We can trace the roots of the current uprising back 84 years, to March 31, 1927, in the dusty agricultural town of Yuma, Arizona, where Cesar Chavez was born to Librado and Juana Chavez.

The family’s decision to move to California was made out of desperation due to a severe draught that drove them from the ranch they worked on. Thus started the Chavez family saga in becoming migrant farmworkers, living in government labor camps, following the crops that consisted of vegetables and fruit. Cesar, like many migrant children of farmworkers, dropped out of school while in the eighth grade to help his family work in the vineyards. Eventually, the family settled in San José, where Cesar joined the Navy and served in World War II.

After the war, Cesar met Fred Ross, who worked in the Community Service Organization (CSO) founded by Saul Alinsky. He registered Latinos to vote, travelling throughout California and becoming the Director of the CSO. Cesar never forgot his roots as he registered Latinos to vote. He left the CSO and formed the National Farmworker’s Association (NFA) in the mid-60s to organize for higher wages. Dolores Huerta, a former school teacher, joined the NFA also because she believed in his cause, fighting for farmworker’s rights.

I was raised in a migrant farmworker family of 14, married in the mid-60s, with two children and two more yet to be born. I always keep the memory of the elation I felt when I heard of Cesar and the work he was doing for the farmworkers in the San Joaquin Valley. The grape boycott was the beginning of my involvement in my community. I housed the union’s organizer, planned picketlines, marches, and rallies.

My days revolved around caring for my four children, working and devoting any time left to organizing the community for the grape boycott which had targeted Safeway at that time. The union organizers were only paid $15 per week, as the union had no contracts or members.

My husband at the time yanked us out from a small town, moving us to Napa County, then to Sonoma County. He hoped that by taking this drastic action that I would come back to my senses and leave all this political involvement behind. Little did he know the union was stronger in Napa and Sonoma because of the organizing of the wine grape pickers and the wineries.

How could I explain or describe the burning flame illuminating within me, of pride and hope about the light Cesar was shining on the plight of the farmworkers both nationally and world-wide. He was describing our family and others who faced poverty, lack of education, and worked long hours for little pay.

No matter how long and hard we worked, the winter months were feared. There was no food stamp program, no unemployment checks, and my father would have to go to work in Oregon in the sawmills to feed the family while my older brother worked in Arizona in the lettuce fields. It never failed, the electricity was always cut off in winter in our home. My mother had to choose between light or food. So, kerosene lamps were always available in our house.

With 14 children to feed and clothe, the only access my dear mother had to birth control was through breast feeding. My siblings are two to one-and-a-half years apart. Later, as we grew up, our mother shared with us that when she found out she was pregnant, she would jump off the kitchen table, over and over again, hoping to bring on a miscarriage. It never worked. She spent most of her growing up years pregnant, as she and my father were married when she was sixteen.

Although we were poor economically, we were taught that to be poor was no sin. But to be poor, not working and keep a dirty house was next to a mortal sin. My mothers’s life was not easy. Can you imagine having to wash clothes for these kids with a washboard and hang them? The guilt she felt being pregnant meant more hardship for the family.

In 1994, I joined the United Farmworkers (UFW) as an organizer after the name was changed. Cesar’s low paid attorneys finally won the Agriculture Labor Relations Board Act in California. This Act oversaw the holding of fair union elections without the intimidation of the ranchers or their supervisors. It gave us the right to file unfair labor practice charges against ranchers who were violating the rights of farmworkers. There was no way I could not be part of this historical time, to do my part in preventing the injustice to my family. Farm workers had anguished for years about the control ranchers had over us and the conditions we were forced to work under.

Have you ever worked while the field next to you was being sprayed with pesticides? Crop dusters made our eyes water, leaving pesticide dust on our clothes. The planes gave us coughing spells as we inhaled the poisons. Many of us suffered from skin rashes brought on by the spray they used. Cesar knew all about it, he had experienced it, along with his family, and he never forgot.

I wasn’t the only member of my family to answer “La Causa,” the call to help build the union. My first cousin, Luis Valdez, started El Teatro Campesino in the fields, using the story lines of the ranchers versus the union and farmworkers. He went on to become a famous producer and filmmaker. My cousin, Ramon Pasillas, another organizer who, like me, was rank-and-file, didn’t hold an official position, but was equally important in the organizing we did. We were trained by Fred Ross in organizing techniques.

After I left the UFW, two years later, I went on to work and gain more experience with other AFL-CIO unions. Yet, being involved in the Farm Workers Unions was like nothing else in my life. When Nick Jones, the former National Boycott Director for the UFW visited me, we exchanged war stories as if they had just happened yesterday.

Granted, the UFW, the “movimiento,” the beam of the lighthouse, has dimmed since those years. I, like other organizers and some union officials, have seen the difference in what the UFW once was and what it is now. But it will never lose the legacy that Cesar left.

The farmworkers feed the nation and the world, but are given no respect, or a decent income, with the union.

The gains we made “way back when” will be lost unless organizing continues on. So, organize, organize and organize.

 

CESAR, HAPPY, HAPPY BIRTHDAY!

 

HAPPY, HAPPY BIRTHDAY DOLORES HUERTA !

 

It was an honor to work with you both, to regain my dignity and pride as a farmworker family member.

Because of the union, I was the first in my family to graduate from high school and go on to college. My younger brothers and sisters followed in my footsteps. My older siblings sacrificed their education to fulfill our parent’s dream.    b

A version of this article appeared in the April 2006 Beachhead.

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Filed under Civil Rights, Culture, Labor

Interview with Singer-Songwriter Jacqueline Fuentes

Interviewed by Karl Abrams

Jacqueline Fuentes is a dynamic and charismatic Chilean folk singer, songwriter and international activist. She moved to Venice about 15 years ago from Santiago and has been playing for small to medium-sized groups of lucky people ever since. The legend is true – to hear her sing is to be instantly mesmerized by the power of her voice.

Jacqueline’s deep and beautifully written lyrics, mostly in Spanish, may be described as a mix of Chilean folk music with a fusion of love, solidarity and revolution. Or, by some accounts, a life-changing musical experience able to move people to their deepest levels.

Her political influences goes back to when she was a child of ten. It was then, in 1973, that a CIA-backed coup d’etat assassinated the Chilean President, Salvador Allende. Jacqueline’s mother, a fiery anti-Pinochet activist, told her that the great folk singer Victor Jarra had his fingers broken by Pinochet’s soldiers so he could no longer play his guitar to lift the spirits of the people. He was then machine-gunned in a sports arena now bearing his name.

Today, Jacqueline’s music is dedicated to help keep alive the same message of love and social revolution that nurtures hope during such politically repressive times.

BH: Jacqueline, who were your early influences as a young musician?

JF: My father was certainly my earliest influence. He was a radio singer way back when we were little kids in Santiago. After work he would record all of my brothers and sisters singing. We loved it. Later, as a teenager, I became influenced by the music and powerful lyrics of Mercedes Sosa, Violetta Parra and Victor Jara.

BH: It looks like you got off to an early start as a young singer in Santiago, Chile.

JF: I was actually 15 when I did my solo debut with the National Folklore Ballet at the Vina Del Mar Festival. That was a wonderful experience for me. That same year I joined a band called “Chamal.” This early experience was very important to my development as an artist. During college I continued to travel with the Ballet.

BH: Did you have time for college studies with so many shows to perform all over the world?

JF: I was very busy. I studied classical music and singing at the University of Chile, one of the oldest schools in Latin America. Pablo Naruda studied there, you know. I also studied music therapy later. Together, they are a good combination I think.

BH: What is the deeper message or meaning of your music?

JF: There is an invisible thread that runs through my three albums. The Great Mother Spirit energy (you know her, right?) is here for all of us to become transformed…to be vulnerable again to life, to be open, to feel deeply once again…to feel interconnected. My songs channel this energy.

BH: I understand. I’ve been listening to your music for about 5 years now. Can you tell us a little about your latest album?

JF: Yes,  “Amo La Vida – I Love Life” is the name of my latest album and one of the songs on it. I decided to use a lot of diverse musical instrumentation with a very nice ethnic blend of musicians for all people to connect with. It’s my way of awakening a deep love in people, the first step in real global change.

BH: What kind of changes would you like to see in the world?

JF: My work is mostly about healing and bringing people together, it is capitalism that divides. Through my music, I would like to play my part in helping to integrate the Latin and American communities and contribute towards healing their differences. I prefer to work with all people who are struggling…all over the world.

BH: How about a world tour?

JF: Thank you. It’s coming soon.

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Filed under Culture, International, Interviews, Karl Abrams, Music

King Neptune Returns

By CJ Gronner

Ahhh, Summer, my favorite Season of them all … and we actually got a little jump on it here in Venice, with the 1st (this Century) Neptune Parade and Festival on June 18th. The Neptune fun was bringing back the Venice tradition, that even instigator Danny Samakow (of Danny’s Deli fame) was unsure of exactly when it began in the last century, but we’re guessing around the 1920’s.

King Neptune (played to the hilt this time by local actor and buff dude, David Frison), his Queen (Jessica, the Sugar Shack chanteuse) and his royal Mer-Court (Danny, James, Edizen, Poseidon Stand-Up Paddlers, Hula Hoopers, etc …) would emerge from the crystal blue Pacific (NO June Gloom for the occasion!) to lead a parade across the sand and declare it officially SUMMER in Venice on land.

I went to the Breakwater at the given time (2:45) and saw no King Neptune, just a bunch of tourists, tanning and looking for shells. I thought I may have missed the whole deal, so headed back towards Danny’s … only to see the entire royal court emerging from the bar all riled up, blowing noise-makers, chanting and tossing out leis and Mardi Gras style beads. (I later learned the delay was due to Jameson shots. So I totally approve.) I had my friend, Amy, down from Hollywood, so this was the perfect thing to have her go back and report on Venice. I love this place.

Here’s a perfect example of why – the sheer delight on each face that we passed, a complete surprise, most just wondering what the heck was going on at first (as is often the case here), and all just loving it every second.

We traipsed across the sand, with the procession led by a “Venice” sign hanging from two sticks carried by Mer-Pages. We blew our horns, someone banged a drum, everyone we encountered got a necklace, and then Neptune – with great fanfare – made his proclamation that it was now officially Summer 2011! It was kind of exciting, if I’m honest. As I mentioned before, I love Summer. A lot.

Hail The King! Hail Venice! Hail Summer! Hail Yes!!!

So went the refrain everyone yelled as we headed back to the Boardwalk, led by the King & Queen under the Venice sign that by now had a chunk out of the “N”, but no one minded. The procession was slow-going, since by now everyone visiting Venice Beach this day that had a camera was stopping their Highnesses to get a photo with them. Again, no one minded. Just more time to yell, feel the fun, and laugh at the sunbathing topless girls with headphones on being startled by beads landing on them as this crazy band of Venetians passed by.

Once on the Boardwalk, the throngs left the other acts going on around to come see what all this Neptune commotion was about. There the King again declared it Summer for the landlubbers who did not catch it at wave’s edge. It was just quintessential Venice, through and through.

About that – I spoke to Danny afterward, as he collapsed into the relative calm (though a still-chanting Court kept it lively) of his restaurant saying, “I feel like I just left a Fellini film!” Indeed, it had that tang. It was a great piece of guerilla theater, the surprise of it all being a big part of the charm. Danny is a great keeper of the Venice flame, and summed up his and his friends’ feelings that bringing back some of the old time-y fun of Venice “keeps it true to the roots, while bringing it forward”. As he said, “We want to stimulate the neighborhood to believe in itself.” What a great sentiment for anyplace in the whole world to embrace!

These kind of jamborees do two things big and importantly – they support local artists (again, our roots. Er, along with gangs, of course. Respect.) and it builds tourist trade (which then circles back to support local artists again. Awesome).

The Venice parade participants were a little sparse this first time, but their roar was mighty, and the seeds were planted, for sure. May they ever grow!!!

Hail The King! Hail Venice!! Hail Summer!!! 

 

HAIL YES!!!!

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Filed under C.J. Gronner, Culture, Venice

The Circus is in Town!

By CJ Gronner

The Circus came to town with the opening of the Zircon & Wish Aerial Circus happening in the one- ring space of Robin’s Sculpture Garden right there on Abbot Kinney Boulevard! I couldn’t wait to attend opening night, as I’d been hearing about the work going into it for quite a while. It was about time some REAL crazy stuff happened on the street vs. the usual hullabaloo about parking or food trucks or restaurant seating or strollers or whatnot crazy- MAKING. THIS was something I could get behind as what I always wanted Venice to be in my mind when I first heard about the place as a kid.
Kids of all ages enjoyed the premiere of our own Venice Circus, and many in the audience came prepared in costumes of their own, in the true spirit of the idea.

The theme of this circus is Alice In Wonderland, so the set was done up with that story’s props; a clock, mushrooms, big perfume bottle, etc. A mime named Chico was going around painting the white roses red before the show as people got seated (after visiting the concession stand, of course).

He was soon joined by fun, sociable kids from the crowd, getting into it with hula hoops from Hoopnotica. One young boy from the neighborhood even showed off his rookie break-dance moves. {I love when kids just go for it, without any fear or self-consciousness like that. It gives me hope that there will still be cool people in the future. Phew.}
Robin Murez of Robin’s Sculpture Garden, the woman and the space hosting the event, introduced the night as the first ever performance of the Zircon & Wish      Circus in her space (which will continue on weekends through the Summer!), which is a perfect magic spot, such as it is, scattered about with her giant heart sculptures and over-sized blown glass blades of grass. It really does feel like down the rabbit hole a little bit, on just a regular day. Just as I was thinking about that, a White Rabbit came out, muttering about “I’m late!”

While she ranted on about it in that drama club silly voice way that kids find hilarious, Alice slowly descended from the ceiling of the aerial structure that has been rigged high above the ground. With the May sky gradually growing grayer (and chillier) over Venice, it was pretty dope and dramatic looking as “She” (Alice was a guy to begin with) swirled around the rope, making it look extra graceful and easy.

Alice drank from the “Drink Me” bottle and soon shrank into a little doll, getting some laughs. The doll drank again (with help) and came back as a giant female Alice on stilts. She jumped rope and hula-hooped and danced and made the little kids laugh until the Mad Hatter interrupted it all to dazzle with more aerial tricks.
With no net, by the way. That takes some serious brute strength, both mental and physical, as it was pretty high up there.

A Lady Elaine-sounding (Mr. Rogers, remember?!), hookah smoking Caterpillar came out and queened it up, spouting smoke and great lines for Venice, like “We’re all mad here!” (which I like to think we tend/hope to be, in the Kerouac-ian sense, like: “The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!”) …
… and “I hope you have your head fastened on tight!” as she offered up a lick of mushroom to Alice.

The Cheshire Cat came out and spun from a hula hoop attached to the rope, with such feline grace and natural strength that a little girl yelled out, “Nice job, Kitty Cat!”, making us all laugh – with her. The Queen of Hearts erupted out of a veil of smoke machine haze and shouted, “I love croquet!” We do too, Queen of Hearts!

Tweedle Dee and Tweedle Dum (Zircon and Wish again, as they play many parts) came out and did power moves on the red silks hanging from the aerial apparatus, and everyone’s necks were craned upward as they balanced and lifted each other with such fluid ease that it seemed like anyone could just hop up there and cruise around on it. Until I heard a guy in front of me say he could never even climb the rope all the way up back in gym class.

Circuses always bring up memories … o 0 O (thought bubble) I remember skipping the box seats my Mom won to the Circus back home because it was the same night Michael Jackson was performing on the American Music Awards, the time he first did the Moonwalk. I still think I made the right choice – that thing was exciting!
[Amid all of this, I could hear people going by on the sidewalk, heels clacking on their way to Wabi-Sabi or The Tasting Kitchen across the street, wondering what the heck was going on in this space right on the boulevard, with dudes hanging from giant red drapes, spinning overhead a bit like a cross between Cirque du Soleil, Pee Wee's Playhouse, and a scene from Bruno. It gave me immense pleasure to hear that renewed wonder in the voices as they came across something splendid by complete surprise.]

The Tweedles entertained the crowd with their magnificent feats, and then it was over, to introductions and applause. You could tell the crowd was delighted, that for most of us, we all just walked on over to the Circus that night! And would now walk on to the next venue, party or home, having been reminded that life itself is a crazy Circus. Venice was founded on the ideas of a Circus Ringmaster kinda guy, and that is the spirit that has hovered over it all – and persists – exactly because people like this have their dreams, and make them come true.

Join the fun (and be inspired to create your own!)! The next Circus weekends are June 11th & 12th, and June 25th & 26th.

Zircon & Wish Aerial Circus
@ Robin’s Sculpture Garden
1632 Abbot Kinney Boulevard
Venice
Venicecircus@gmail.com

*Tickets are steep-ish ($25) for a somewhat short show, but there are discounts for those saying “White Party” at the gate. They’re also pretty cool about working with the locals to make it affordable to bring a slew of kids out for a night of fun and fantasy, right up the street.   b

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Film Review: Venice West and the LA Scene

By Mary Getlein

On April 17, Venice West and the LA Scene, by Mary Kerr, was shown at Beyond Baroque. It is part one of a two-part documentary covering the Venice and San Francisco Beat scene in the ‘50s and ‘60s. The film showed the lives of local Venice poets and artists: Stuart Perkoff, John Thomas, Philomene Long, Frankie Rios and Tony Scibella, among others. The artists represented included Wally Berman, John Altoon, Artie Richard and Saul White, among others.

Venice was very cheap then and people could afford to live somewhere and work on their poetry and art. A lot of artists felt that their art was just for themselves and would give it away to their friends.  They didn’t have the desire to do commercial art. It was very innocent in that respect.

Wally Berman was a very influential artist in the Beat scene – he was the one who coined the phrase “Art is Love is God.” He was arrested on a pornography charge in the Syndale Studio, the first gallery that would show Beat artists’ work. He was arrested for a small drawing representing two people having sex. Two plainclothes policemen came in, found the drawing, arrested him and took him to jail. He was eventually bailed out, but it was quite traumatic for him.

Colorful John Atoon was professionally trained as an artist, and became an Abstract Expressionist and influenced many artists around him. He was one of the few that held down a job, as an art teacher, and also did his own art. Most artists and poets lived in voluntary poverty and worked odd jobs here and there to pay the rent and buy food.

Another artist who was important was Artie Richards, who was not allowed in his own shoe at Ferris Gallery. The owners of the Ferris Gallery were afraid of how he would act once he started drinking, and didn’t want him to offend potential clients. So Artie and his friends went to the back of the gallery and built a make-shift bar out of some wood planks and set up shop there, in the alley.

Stuart Perkoff was a major poet of the ‘50s. He was very careless with his poetry, would perform it and then crumble it up and throw it on the floor. He was known for writing line after line of poetry and not stopping, as if he was in a trance. After his death, a big book of his poetry was published, at the urging of Allan Ginsburg. Stuart got heavily into drugs, which lead to him going to jail and his early death.

There is a scene in the movie where John Thomas, Philomene Long, Frankie Rios, Tony Scibella and Saul White were gathered around the table talking about the good ol’ days. Of the five, only Frankie is left. Tony, John and Frankie talked about the relief they felt of discovering they could write poems – that this was their profession. Discovering the talent that was buried under the rough exterior.

The concept of “the Muse” was discussed by many poems. The Muse was about finding the inspiration inside yourself. It was necessary to open yourself and receive the inspiration to do poetry and art. An artist or poet should keep themselves pure – you didn’t do art and poetry to make money. Stuart Perkoff felt the Muse would take away your inspiration and ability if you allowed yourself to be corrupted by the capitalist culture. Many people would use drugs or alcohol to as a way to be open to the Muse – this might work in the beginning, but by the end you couldn’t write anything at all. This happened to many poets and artists, among them Frankie Rios and Stuart Perkoff.

The film includes footage from the Gas House and Venice West, where people used to go and listen to poets “blowing” their poems and musicians playing their music.

The beatniks were dropouts from regular society, which was primarily described by conformity. America was in the prosperous ‘50s, when people were encouraged to move into the suburbs and the men would go to work and the women would stay home and raise their children. Everyone looked the same, dressed the same and aspired to the same goal: success.

Or you could drop out, run away from your pre-described role in society and go to New York, San Francisco or Venice and hang out with madmen and crazy poets. Venice was cheap then, and you could practically live on nothing. Some poets were given rooms above the Gas House.

Philomene Long talked about becoming a nun and at the last moment deciding to be a poet. She was already wearing black, she had already embraced poverty, she spent all day staring at the sky, so she was already a poet. She said that when she met Stuart Perkoff, after a minute of knowing him it was like she had known him a thousand years.

Mary Kerr tied all the pieces together in this engaging film of young voices emerging from the strange hold of the ‘50s.

In the Q&A after the movie, Mary said the movie was especially encouraging to art students, who feel that deep pull to do art, while everyone around them are telling them not to.

Elaine Trotter was the editor of the film. Jimmy Z, Theo Sauders, Ben Perkoff and, Si Perkoff (son and brother of Stuart Perkoff, respectively) performed the music in the film. Mary is planning a two DVD set that covers Venice and San Francisco. She needs money to help produce it and has a website: beatera.org, and indigogo, where you can go and view parts of the movie and donate money. The title of the two documentaries will be “Swinging in the Shadows’, part one: “Venice West and the LA Scene” and part two: “San Francisco’s Wild History Group.”

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Filed under Culture, Film Review, Mary Getlein, Poetry