Jazz in the Canals

By Anne Alvarez

Chris Bennett sits still during a moment of reflection on the patio of her home overlooking the Venice Canals, as she takes me back through a multi faceted career that spans 3 decades, various  genres of music and a Grammy nomination for co/writing and singing the title track for the film Midnight Express. Bennett worked alongside composer, Giorgio Moroder, who went on to win the Oscar for the film’s musical score.

Her resume is extensive, including among other things being a pianist, songwriter, jazz performer, choreographer and former disco queen. Having sung back up for Johnny Mathis, Rita Coolidge and Donna Summer on her hit “MaCarthur Park” and “Heaven Knows”,  as well as song writing for singer Tina Turner on her 1979 disco music album Love Explosion.

Bennett, an only child of a conservative Illinois Judge and her music teacher mother, grew up listening to Big Band melodies and Broadway show tunes, and was playing the piano by age 5. She often chose practicing instead of doing chores. It wasn’t until her high school days that she developed a love for the performing arts, specifically dance, that led her to open her own dance studio at the age of 16. She pursued the love of performance art after leaving her family behind, and moving to Los Angeles to attend UCLA. However, within a few months of being in town, she was approached by Jim Nabors, known mostly for his role as sidekick on The Andy Griffith Show. Nabors asked Bennett to join his Las Vegas revue which would eventually tour across the country. Getting to perform on stage every night in new venues, and playing to a variety of audiences in different cities helped Bennett gain the confidence and experience of a seasoned professional.

By her mid-twenties, Bennett had become a worldly woman and a well-known vocalist throughout the music industry. In 1976, while touring Germany, she was scouted and hand picked by composer/producer Giorgio Moroder, a man many credit with pioneering electronic music. Moroder asked her to join the popular disco group, Munich Machine, choosing Bennett to be the lead vocalist for their sophomore album which included a dance version of the Procol Harum rock classic, “A Whiter Shade of Pale.” Bennett not only recorded the entire album, she also posed for the groundbreaking cover art, entirely naked. Bennett’s runway model’s body and movie star looks caused an international sensation and made for one of the highest charting and highest grossing disco albums of 1978. As exciting as this period in Bennett’s career was, she knew this wasn’t all she wanted to do. Her main passion had always been jazz, so she took time off, to focus on songwriting, composing and her marriage.

Re-emerging in 1993 a full fledged jazz singer, she produced and independently released an eponymous album that featured an eclectic assortment of covers, including “My Funny Valentine,” the Hollies’ “Bus Stop,” and Leon Ware’s “Somewhere”, along with her own original compositions.

Going through Bennett’s repertoire, it is easy to see why she is regarded as one of the most under appreciated singer/songwriters of our time by many in the jazz community, who compare her near vibrato-less voice to Chris Connor’s airiness. While echoing the purity of Doris Day, and at times channeling jazz idol, Anita O’Day, her ability to sing bittersweet melodies and rockin’ swing tunes make her unique. Bennett has released a total of 11 solo albums, including two live albums, a Christmas platter, and most recently Sail Away – The Tahiti Sessions.

She has also become an advocate for equal rights within the gay community, having composed the song, “Everybody Has The Right” with co-writers, Lisa Catherine Cohen and McKinley Marshall, which she performed alongside disco diva queen Pattie Brooks in major events for the Gay Pride events. Bennett, a heterosexual, firmly believes that everyone should have the same basic rights, a point of view which the Gay and Lesbian community warmly embrace.

Asked why she chose Venice as her home,she answers with a sigh and a warm smile, “There’s no place like Venice anywhere in the world. It is a great place to get older, lots of artistic people with individual ideas are around, and for me it offers the best quality of life one can experience.”

Currently, Bennett tours as one quarter of the disco group, Club Majestic with Pattie Brooks, Suzi Lane and Billie Kaman. Bennett is also collaborating on a musical soundtrack for an upcoming Broadway play by Hollye Leven,alongside acclaimed composer/conductor Maestro Dino Zonic.

She takes me into her in-home recording studio,sits in front of her 1928 Steinway and begins belting out one of the most beautiful melodies I have ever heard, “Sail Away”, a song about love lost.

One thing is for certain, the only place Chris Bennett is sailing into is peoples’ hearts with her gentle and unassuming presence and style.

To Learn more about Chris Bennett check out: http://www.chrisbennett.com/

The Lit Show is a Hit – With Suzy Williams

By CJ Gronner

Oh, Suzy Williams. How are you so so cool? Well, for starters. she and her husband, Gerry Fialka, put on The Lit Show every year at Beyond Baroque, where you hear the words of famous authors put to jazzy compositions by Suzy and Brad Kay. Where you wind up being not only thoroughly entertained, but smarter.

In the 7th or 8th Annual (no one was really sure which) Lit Show, Suzy and Brad were joined by Oliver Steinberg on stand up bass, Carol Chaikin on everything (well, flute, clarinet and two different saxes), Barry Zweig on guitar, and Don Allen on drums. And the entire crowd of loyal Venice fans on laughter, clapping and the opening chorus of “The Liiiiiiiiiiiiiiiiiit Show!!!!” Everyone was down from the opening notes, that Suzy delivered in full Marilyn Monroe (who was also featured on the evening’s program cover, reading Ulysses) regalia, right down to the beauty mark. That’s the thing about Suzy, she really DELIVERS every single word, making her especially great at adapting such glorious words from authors that you may not have even known ever wrote song lyrics.

Like Kurt Vonnegut, Rudyard Kipling, and Ben Hecht (very upbeat number from the dude who wrote Scarface, etal!). Even Ray Bradbury, who lived exactly right across the street here in Venice for a spell, and whose song, “Bedtime Exercise” found Suzy portraying a sexy robot. A “Venusian Venetian.”  To introduce Nabokov’s ditty from Lolita, Suzy said, “Let’s blow it all to Hell!” Which happened, particularly due to Carol Chaikin’s sax blowing that was so feeling it that it reminded me of Lisa Simpson going off.

“The Great Secret”, inspired by words from Hafiz, Suzy’s “Spiritual Master”, turned out to be that There really is no such thing as sin … so we’re off the hook, boys and girls! Suzy is the best. She reminds me a little of Bette Midler in her delivery, and her not giving a damn what anyone thinks, straight up doing her own thing, and in the vaudeville style way she interacts with the crowd. Suzy is a true mold breaker, though, and fully deserving of her title, The Songbird of Venice.

After a brief intermission, Suzy returned to the stage as a sultry brunette, salting the set with funny little asides like, “Edna liked to be called ‘Vincent’” about Edna St. Vincent Millay. For Vonnegut, Suzy donned a turban and hoop earrings and shook a maraca for the summery delight of “Bokomon’s Calypso” from Cat’s Cradle. All the Venice faces were smiling along, deeply in love with the divine Ms. W.  Nice, Nice, Very Nice!

The “G Rated Bessie Smith of Venice”, introduced Brad Kay of Suzy when she sang “Little Shirley Beans”. This one was inspired by Salinger’s Catcher In The Rye – which she suggested everyone re-read when they’re older. I’m going to.

The very bohemianly awesome evening ended with the crowd singing along “LOOOOOOOOOVE!” with Suzy to “A Song of Love” by Lewis Carroll (from Sylvie and Bruno). I loved every bit of it, and urge anyone who’s never seen Suzy to get there and get charmed by our dear local treasure songbird. Especially because she shouts great things like, “Don’t forget! Marilyn Monroe is always on the merry go round reading Ulysses!” to end her show.

The Liiiiiiiiiiiiit Show was about the most sweet/street, smart/tart time I’ve had in a while, and truly so original. Just like Suzy.

Introducing: The Venice Symphony Orchestra

Venice Symphony Orchestra actively seeking local volunteer musicians to join community-based orchestra. Looking for orchestral/symphonic instruments (violin, cello, clarinet, oboe, trumpet, etc.).

The purpose of this venture is to bring together local musicians within the Venice community to combine symphonic pieces with modern music for several performances each year. The intent is to celebrate all eras of music from classical composers to classic rock, jazz to Top 40 hits, and more to creatively bridge the gap between old and young.

Beginning mid-June there will be weekly rehearsals, leading up to the first performance slated for early August. Again, participation is by volunteer basis, with a goal of bringing the community together through music.

The Venice Symphony Orchestra (VSO) is a community-focused organization dedicated to music education and exploration through sharing.  From Beethoven to Beck the VSO is interested inviting our audiences to explore the rich history of music from centuries past and present. By providing free orchestral concerts to the Venice community and surrounding areas we will showcase a unique and dignified outlook on modern and classic works.

If interested, please contact for rehearsal details: veniceorchestra@gmail.com

Wild and Peaceful – The Ivory Queen of Soul

By Ronald K. Mc Kinley

Mary Christine Brockert, known as Teena Marie, was born in Santa Monica and spent her early childhood in Mission Hills. Later she moved with her family to Venice to live in a large house on Nowita Court.

Born on March 5, 1956 she was raised in Qakwood, nick-named “ghost town” because you go in alive, you come out a ghost. Brockert attended Venice High School where she joined the Summer Dance Production, and appeared in the musical “The Music Man.” She graduated in 1974.

Her distinctive soulful vocals caused listeners to believe she was African-American. Success in R&B and Soul earned her the title Ivory Queen of Soul.

She was the fourth of five children born to a construction worker, Thomas Leslie Brockert, and a homemaker Mary Anne. She was Portuguese, Italian, Irish and Native American.

Brockert took to singing naturally, developing a fondness for singing the songs of Motown.

Her parents listened to jazz and popular music, and her parents began sending her out on auditions when she was eight years old. She got her first acting role on “ The Beverly Hillbillies,” that aired October 21, 1964. She sang at the wedding of Jerry Lewis’s son when she was ten years old.

She learned to play piano under the tutelage of two nuns, as she was raised in a Roman Catholic household. She also played rhythm guitar, keyboards and congas. Her first band was formed with her younger brother Anthony, and a cousin.

In 1976 she was introduced to Motown staff producer of the Jackson 5, Hal Davis. This lead to an audition for a film about orphans being developed by Motown. The film failed, but Berry Gordy decided to sign her as a solo act.

Rick James, also on the label, turned down producing Diana Ross to work with Brockert. Her debut album “Wild and Peaceful” scored Brockert her first R&B hit “I’m a Sucker for Your Love” (#8 on the Black Singles Chart). Lady T was the name coined by Rick James.

There was no picture of her on the album. Many radio programmers assumed she was Black.

This changed when she performed her debut hit with James on Soul Train in 1979; she was the show’s first white female guest. She appeared eight more times, more than any other white act.

In 1980, on her second album, “Lady T,” her portrait appears on the cover. Also in 1980, she released her third LP “Irons in the Fire,” dedicated to her father. She handled all the writing and production, including horn arrangements and backing vocals, something rare at the time for female artists.

She had her first top 40 hit with the single “I Need Your Loving” (#37, #9 Black Singles Chart).

In 1981 she released “It Must be Magic” (#2 Black Albums Chart) her first gold record, which included her biggest R&B hit “Square Biz” (#3 Black Singles Chart).

In 1982 Brockert got into a battle with Berry Gordy over her contract. A lawsuit resulted in the “The Brockert Initiative,” which made it illegal for a record company to keep an artist under contract without releasing new material for that artist.

She left Motown as the label’s most successful white solo act. Because of her, artists are able to move to another label and not be held back by an nonsupporting one.

In 1984 she released her biggest-selling album “Starchild.” It contained her biggest hit “Lovergirl,” released by Epic Records. It rose to #4 on the U.S. Billboard Hot 100 Chart.

She never married, but gave birth to daughter Alia Rose in 1991, they can be seen on YouTube singing together.

She was Godmother to Marvin Gaye’s daughter Nona Gaye, and she also cared for Rick James’ son Rick Jr.

Lenny Kravitz posted a video in which he said Brockert had taken him into her home when he was struggling early in his career.

She suffered a Grand mal seizure a month before her death. Close friends said she suffered other seizures. She broke two ribs with the grand mal. She stopped taking Diazepam, for the seizures, because of the side affects, and took herbal medicines instead. She was so frightened of having another seizure when she was alone that she would have someone sleep with her at night.

The Saturday night of the day before her death nothing seemed unusual. Someone slept next to her.

Her daughter checked in with her around 1 PM Sunday afternoon. At 3 PM her daughter checked in again but could not wake her. She died in her sleep of natural causes according to the coroner.

She died the day after Christmas 2010. She was 54 years old.

9/11 Remembered at Talking Stick

By Mary Getlein

On September 11, Lisa Green hosted a “Healing From The Heart” gathering at The Talking Stick. It was a woman’s art show, music and poetry event as an alternative to the national grieving of the 10 year anniversary of 9/11. It was an effective way to deal with grief: music, art, poetry and the making of friends in the process.

The artists represented were: Diane Butler, Lynette Castle, Hillary Kaye, Lisa Green, Eva Babour, Desiri Hawkins, Rhiannon Maihi, Sarah and Mary Getlein. A pleasant surprise was that most of the artists could also sing, and proceeded to do so.

Lisa Green started out talking about all the roles of a woman: a witch, a healer, a temple prostitute, a mother, a daughter, a friend. How women need to get together and relate to each other and encourage and nourish each other. That grief is a mysterious process and we all deal with it in different ways.

Suzy Williams kicked it off with two blues songs and talked about her extraordinary life of being a woman. Mary Getlein followed with a reading of her poem from the Beachhead and a blues song, “It’s a Blessing” by Mississippi Fred McDowell. Hillary Kaye read poems from her book, “Hour Of The Moon”.

Lisa Green acted as M.C. and sang. Toya Song got up and belted out some blues songs. She is an amazing singer. Desiri had a collage up and introduced herself as a community activist. She blew us all away with singing “White Rabbit” by Jefferson Airplane.

Eden had an oil painting and got up and started talking about the prison-industrial complex that exists today in the state of California. Then she did a spontaneous free-style poem about Venice, contrasting the Venice of the old with the Venice of today.

After the women were done singing, Wes, Joey, and Chris, musicians from the Venice Beach Orchestra, got up and played some jammin’ sets and everybody danced and had a good time.

The next band was the “house band” of the Talking Stick, which consisted of Nicki Black, Roger Houston cvbband Dan the Piano Player. Everyone danced and they asked if anyone wanted to sing with them. So we all got back on stage and jammed with the band. Hillary Kaye was invited up by Nicki Black, and she got  up and did “Ain’t No Sunshine When She’s Gone” and “Summertime” and really wailed.

Nicki kept the store open longer so we could stay and hang out and play music. Roger Houston performed his poems, which were amazing. David Bush read a letter by Juditte Erki about homelessness (from the Beachhead) to the crowd.

The night was declared a success by all involved. The Talking Stick is a great venue for having events. They have open mic on Wednesday nights which are always an eclectic mix of performers.

Tom Freund’s Edge of Venice

By CJ Gronner

Tom Freund has been a part of my Venice for as long as I can remember. His latest album, The Edge Of Venice, gave us a good excuse to sit down and talk about our Venice and his music inspired by this special part of the world.

Tom was born and raised in New York, where he self-taught himself the upright bass and piano at the age of 7, then picked up the guitar at 11. He was already getting jazz gigs in high school, and so began a musician’s life that has never included any kind of desk job. College was the Berklee School of Music and then Claremont College, when he decided to come West to check out the music scene. Once he got that degree in English Lit, it was off to the races, starting “the tour of life.”

Tom was broken into the touring musician’s life when he played as a member of alt-country band, The Silos. “It’s a great way to see the world. When you play a show somewhere, you’re in the scene you’d be in if you lived in that town, so you meet a lot of like people and the world gets smaller.”

After a stint living in Austin, Texas, Tom bought a big dresser at the French 50/60′s store when he was visiting Venice, and decided it was easier to move himself than the dresser, and has lived here ever since. Though he travels the world playing gigs (and just got back from opening for Ben Harper in Europe), it’s always Venice he looks forward to coming back home to.Tom’s  daughter, Delilah, was born in Venice and through her, Tom has realized the phenomenal and tightly-knit community that Venice also is for parents and kids. He recorded a great kids album, Hug Trees, in honor of this, that every Venice kid (or every kid, period) should own.

We sat down at The French Market to catch up and talk about this place we love and his latest album. We agreed that it’s getting harder to live in Venice as an artist (though the artists made Venice what it is in the first place), and Tom said, “I’m hanging onto Lincoln for dear life.” Hence his album title, the EDGE of Venice. But that title also has double meaning, as the EDGE that Venice has to it is also something worth clinging to. As it gets more homogenized around here, it’s harder to see that edge, but it’s there, and we’re hanging onto it for dear life. Tom (and I) love the old school places, like the Abbot’s Habit corner (“Legendary”), the French Market, Firefly, and The Roosterfish (“The dopest place left for a drink”), though Tom is not afraid to hit the Other Room for a Malbec on occasion. He misses The Stronghold music scene, which he was a big part of, and we’re still trying to find the place that can be like that artistically, locally.

Perhaps it could be The Del Monte Speakeasy, where Tom had his cd release show for The Edge Of Venice the other night. Located in the basement of The Townhouse bar on Windward, the Del Monte is now open for business (stay tuned for the story on them soon) and hosted a slam-bang night of music to celebrate Freund’s latest musical endeavor. The Del Monte really was a speakeasy in the Prohibition era, and is now completely refurbished and gorgeous, with great sound.

Australian indie darling Julia Stone opened the night up for Tom, in her first show without her brother, Angus. She has an angel voice, and can blast some great trumpet too. I loved her version of “You’re The One That I Want” from Grease the most. Check her out.

Tom’s friend introduced him by saying, “In this sacred, crazy, fucked up, tilted place called Venice, we can all relate to Tom Freund!” I loved that. In a night that featured many of the songs off the new album, and a bunch of classic ones, each and every number was one that had the crowd dancing and singing along … many of whom have been Freund Fans from the beginning. As Tom said before launching into his song “Where Is The Love?”, “This whole night is about friends.” So true. And many of Tom’s musician friends were there to back him up: Chris Joyner, Gabriel Noel, Ben Peeler, Pete McNeil, David Ralicke, Brett Dennen, and Julia Stone returning to duet with Tom on his great, “Why Wyoming?” and “Sugar Don’t Get No Sweeter Than This” and the excellent covers of The Who’s “Let My Love Open The Door” and the Beatles’ “Revolution”. Good times.

“Wounded Surfer Boy” off the new album sounds a whole lot like a bunch of Venice people I’ve known, with its verse that goes:

He’s the Mayor of the neighborhood,

He rides around on a skateboard made of wood,

He’s got no car, no house to call his own,

But that’s alright, he’ll find someplace to stay tonight,

And that’s alright by her

 

Yep. We all know(and love) a few of them. “You’ve heard this one before in Venice,” said Tom to introduce one of my favorites, “Truly Mellow”. It features a chorus of “La da dah’s” that the whole room sang along, especially when Tom said, “C’mon Venice, sing so they can hear about it in Marina del Rey!” And we did.

At night’s end, everyone staggered back upstairs to cool off outside on Windward. Sweaty, smiling, happy and feeling truly mellow. A perfect night in and about Venice, California.

Add Tom Freund’s The Edge Of Venice to your Venice Soundtrack … It’s not complete without it. It and all of Tom’s discography are available at TomFreund.com, ITunes, CD Baby, Amazon, and at whatever record stores are still alive and kicking.

Support your local (International) artists!

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.

Venice’s Lizard King 40 Years On

By Lynne Bronstein

It was 40 years ago on July 3, 1971, that a titan of the 1960s rock scene passed away in Paris. Jim Morrison had gone there to get away from his turbulent career as front man for the Doors. His death was officially attributed at the time to a heart attack, which seemed strange for a young man of 27 but not surprising for someone who was legendary for taking any and all physical risks.

The last 40 years have seen Morrison’s image take on all the facets of a mythical hero, the guy who lives out everyone’s fantasies. There has been an outpouring of books, films, re-released recordings, articles, web sites, new publications and recordings of Morrison’s own work, tribute bands, and a reorganized version of the Doors with a new lead singer.

The latest tribute is a bar in Paris called the Lezard King, devoted to the memory of Morrison. (”I am the Lizard King” was his boast in a lengthy musical-poetic work called “Celebration of the Lizard”.) The venue, which opened in September 2010 at 11 Rue de Tournelles, close to the Bastille, features Doors-themed décor and drinks named for Doors songs. The owner, Christophe Maillet, is described as “a hardcore fan of the Doors” who invested his life savings to build his dream, according to the bar’s web site.

According to a communiqué sent by another Doors fan, Stuart Henderson, who had in turn received information via a Facebook connection, Maillet has received a letter from lawyers representing the Doors, challenging the theme of Lezard King.

The letter asks that Maillet destroy all the decorations and change the names of the bar’s cocktails. The letter asserts that the client does not wish to see Morrison commemorated at an establishment that sells liquor.

For better or worse, the Jim Morrison image is irrevocably linked to his propensity for alcoholic consumption. At this stage, with portrayals of Morrison’s drunken binges in the Oliver Stone film “The Doors,” and numerous written accounts of his exploits, there is no denying that drink was a factor in Morrison’s life, although it was not the only thing in his life and it was not what fueled his talent. Another Doors fan, Gilles Yepremian, stated in an email to this reporter that there are about 20 bars in the Netherlands that have a Doors logo and allow smoking of grass and hash (substances that Morrison appears to not have been a stranger to either).

Henderson’s email opines that surviving Doors member Ray Manzarek has been “exploiting” the Morrison image for years. “But Jim Morrison doesn’t only belong to the Doors,” he adds.

On July 3, Paris venue Le Bataclan will feature a Doors tribute concert with former members Manzarek and Robbie Krieger. Some avid fans of Morrison are asking that fans boycott the tribute concert to show support for Lezard King and for the right of Doors fans to have their Jim Morrison.

“Jim used to speak about freedom,” says Henderson’s email. “Today, Doors impede the freedom of a fan who has just tried to achieve a dream in their honor and in the honor of the others [sic] fans.”

Back here in Venice, Jim Morrison also belongs to this beachside town. It was where he lived during his years at UCLA and for a while after that, during the formation of the Doors, from 1963 to 1966. Morrison is the George Washington of Venice in terms of having “slept here.” Several apartment houses claim to have had Morrison as a tenant, including the Morrison Apartments on Westminster Avenue. Morrison was said to have hung out at the Venice West Café on Dudley Avenue. He also frequented Olivia’s Soul Food restaurant at Main Street and Ocean Park Boulevard in Santa Monica. While it is not known if he ever actually slept at Olivia’s when temporarily homeless, the place did inspire the song “Soul Kitchen.” (”I’d really like to stay here all night”).

Jim Morrison might have been just another one of the many young people who came to Venice during the early and mid-1960s, to live as cheaply as possible in the funky old buildings or even on the beach, to live freely and to create. One Morrison story had him becoming inspired to write a lyric while he was staying on the roof of a Venice building where he was able to look out at all the TV antennas on other rooftops. This lyric became “My Eyes Have Seen You,” on the Strange Days album.

But unlike many other Venice kids, Morrison was destined to “break on through.” The creation of the Doors began with a meeting of Morrison and Manzarek on the Venice beach, where Morrison modestly admitted that he was writing songs and sang a few bars of “Moonlight Drive” to Manzarek, who then suggested they form a band. They may not have expected the impact that the band and Morrison ended up having on the world.

Venice proudly claims Jim Morrison as a “native son.” A giant Rip Cronk mural of Morrison, bare-chested, wearing his characteristic leather pants, adorns a Venice building and has become a Venice landmark in itself.

Any trolling of the Internet reveals that there is not a day that goes by without someone posting a comment on Jim Morrison-or a memory or a tribute or a description of a trip to Morrison-significant sites. There is probably not a day when one does not hear a Doors song coming out of someone’s car stereo as they drive by.

The impact of Jim Morrison on our world is immense. There is no telling what will happen with the current controversy over Lezard King in Paris but one thing is for sure-Venice can claim to be the original home town of the wandering soul of the poet-singer-lizard king.

(If you want to sound off on the issue, call: Doors Manager: Pboxs Concert: 331 40 24 02 10; Concert Venue le Bataclan: 331 43 14 00 30).

Teena Marie, A Child of Venice Dies

By Clay Claiborne

The famous Rhythm & Blues singer Teena Marie died in her home in Pasadena the day after Christmas. She was born Mary Christine Brockert in Santa Monica in 1956 and grew up in Oakwood and was raised on Motown music and African-American culture. She attended Venice High School and worked at the Pup ‘n’ Taco in Mar Vista. She was singing Harry Belafonte’s songs when she was 2, had a child acting role on the Beverly Hillbillies, and at 10 sang at the wedding of Jerry Lewis” son. In 1976 she became the first White singer signed by Motown.

In addtion to singing, she played rhythm guitar, keyboards and congas. Starting with her 1980 album Irons in the Fire, she wrote, produced, arranged and sang virtually all her songs. In 1982 she sued Motown over its refusal to release her from her contract or release her new material. The lawsuit resulted in the ‘the Brockert Initiative”, which made it illegal for a record company to keep an artist under contract without releasing new material for that artist. She released 13 highly successful albums between 1979 and 2009.

She was known by friends and family as “Lady Tee”, but since her death, the media, always quick to look for a racial angle, has taken to calling her ‘the Ivory Queen of Soul.” I was surprised by this and asked some friends, who like me have been long time fans. Nobody had heard Lady Tee called that before, and the Detroit News, and they know Motown, said, ‘there’s been a lot of debate over the last few days about whether Motown’s Teena Marie, who died Sunday, was ever called “The Ivory Queen of Soul.” “While the media that never much promoted her in life may have their own agenda with this label, Teena Maria will forever be remembered as Lady Tee and a child of Venice.

Jim Morrison Pardoned; Doors Demand Apology

Former Venice resident Jim Morrison was pardoned Dec. 9 for indecent exposure and profanity by Florida Gov. Charlie Crist and the state clemency board, but the remaining Doors reject it. The incident allegedly took place at a 1969 concert in Miami. The Doors response:

In August (1970), Jim Morrison went on trial in Miami. He was acquitted on all but two misdemeanor charges and sentenced to six months” hard labor in Raiford Penitentiary. He was appealing this conviction when he died in Paris on July 3, 1971. Four decades after the fact, with Jim an icon for multiple generations – and those who railed against him now a laughingstock – Florida has seen fit to issue a pardon.

We don’t feel Jim needs to be pardoned for anything.

His performance in Miami that night was certainly provocative, and entirely in the insurrectionary spirit of The Doors” music and message. The charges against him were largely an opportunity for grandstanding by ambitious politicians – not to mention an affront to free speech and a massive waste of time and taxpayer dollars. As Ann Woolner of the Albany Times-Union wrote recently, “Morrison’s case bore all the signs of a political prosecution, a rebuke from the cultural right to punish a symbol of Dionysian rebellion.”

If the State of Florida and the City of Miami want to make amends for the travesty of Jim Morrison’s arrest and prosecution forty years after the fact, an apology would be more appropriate – and expunging the whole sorry matter from the record. And how about a promise to stop letting culture-war hysteria trump our First Amendment rights? Freedom of Speech must be held sacred, especially in these reactionary times.

Love, The Doors