By Domenic Priore and Brian Chidester, Summer 2007

Los Angeles is quite often overlooked as a major center of R&B and Soul during the first rock ’n’ roll era. The Cenral Avenue Jazz and R&B scene from the ’20s through the early ’50s is well documented by the book and companion CD box set Central Avenue Sounds. That fantastic series ends as the Central Avenue scene disperses with the integration of L.A. jazz musicians into the clubs and movie soundtrack work to come in Hollywood. After that, a neighborhood Northwest of the core Central Avenue area would flourish as a new African-American nightlife center. Beginning near the corner of Pico and Western Avenues, then heading South to Santa Barbara Boulevard (now Martin Luther King Jr. Boulevard), with a right turn (West) to Crenshaw on MLK, a myriad of new clubs would open up and host some of the most brilliant R&B from the period.

An example of why this scene might be glossed over in history so far, is that local hit records by artists such as Richard Berry (“Louie Louie”), the Rivingtons (“Papa Oom Mow Mow”), the Olympics (“Good Lovin’”) and the Vibrations (“My Girl Sloopy”) would be more successfully covered by white garage punk bands from all over the country, such as the Kingsmen (from the Pacific Northwest), the Trashmen (from Minnnesota), the Young Rascals (from New York) and the McCoys (from Ohio). Picture here is Richard Berry.

This phenomenon can be traced to the wilder, ’50s-style R&B still practiced in L.A. during the ’60s, which stemmed all the way back to the Central Avenue era, as opposed to the more unified soul recordings from Detroit or Philadelphia. The above photo is of the Rivingtons.

Los Angeles was more aligned with New Orleans, with Specialty Records (Little Richard) and Imperial Records (Fats Domino) based in L.A., and records like Chris Kennner’s “Land of a Thousand Dances” making their way on that pipeline to places like East L.A., where Cannnibal & the Headhunters would make it a huge hit. Picture here is the Vibrations.

As black musicians became more common in Hollywood, the avant-garde and psychedelic music scene in turn gravitated to spaces in this area of South Central. The overall effect during the ‘60s led to a full-color, Mod L.A. soul scene that produced incredible, unique sounding records. This travelogue is not meant to be definitive documentation of all the artists who broke from here during that time, but will give you a good idea of the kind of action that was going on.

During the early ’60s basketball legend Wilt Chamberlin became a partner in a club housed in this building called the Basin Street West (1304 S. Western Avenue)

The Basin Street West, as pictured on a comedy album recorded at the location

Major jazz acts like Woody Herman would record inside the Basin Street West

The No War Toys Coffeehouse moved to the neighborhood in 1965, and was akin to other liberal outposts in town such as the Fifth Estate and Fred C. Dobbs on Sunset Strip, and Mother Neptunes in the Silver Lake area.

All that remains of No War Toys Coffeehouse is the picket fence, a palm tree, a crumbled sidewalk, some grass and a front entrance parking lot. (2472 W. Washington Boulevard at Arlington)

An early gig for the Doors was a benefit for the No War Toys Coffeehouse

Across the street was an old venue called the Hippodrome, which would be used for a happening. (1853 Arlington at Washington Boulevard)

Ferus Gallery and Pasadena Art Museum director Walter Hopps teamed up with Art Kunkin of the Los Angeles Free Press for this South Central event.

Ted Brinson built a studio in his garage, reputedly with some of the finest equipment in town, plus a fortress of entryway locks.

Some of the records recorded by Ted Brinson included the Wipe Out album by the Impacts (a Del-Fi Records surf group featuring Hawaiian steel guitar) and the original version of “Just Like Me” by the Wilde Knights (later covered by Paul Revere & the Raiders).

The most well-known disc to come out of Ted Brinson’s is “Earth Angel,” a 1955 R&B vocal group smash by the Penguins. The Olympics also made good use of the room for many of their hits between 1958 and 1967.

The driveway from the front of Brinson’s old house led to the studio. Notice size of palm trees in the background. (2190 W. 30th Street)

With decidedly shorter palm trees, here is Ted Brinson’s studio during its prime years.

Comedian supreme Redd Foxx had his club Jazz Go-Go nearby, close to the corner of Western and Adams. Burlesque, and the top names in comedy and jazz showed up to perform all the time.

The building where all these wild times took place is still standing. (1952 W. Adams Boulevard)

Only two blocks West of Jazz Go-Go was another top-notch venue, The Rubaiyat Room, in the lounge of the Watkins Hotel. Tonight, you could see Babs Gonzalez author of I Paid My Dues, Good Times... No Bread: A Story of Jazz, who also recorded Tales of Manhattan for Jaro Records.

The Watkins Hotel as it stands today, with the Rubaiyat front entrance at ???? Adams.

The same frontage back in the day.

A Reprise Records LP from the Rubaiyat Room.

One of the top ’50s locations for R&B was the Oasis, with its Middle Eastern theme.

The Oasis Club building still stands at 3801 S. Western Avenue at 38th Street. This still sits near an old Pacific Electric Railway line, which will soon be redeveloped into part of the new L.A. subway system.

Happenings inside the Oasis Club. (Question, readers; is this L.A. Dodger shortstop Maury Wills dancing?)

The Treniers wail inside the Oasis Club underneath an amoeba-shaped Modern roof.

The desert palm tree motif was cool in soulful, sunny L.A.

The Californian Club remains one of the most legendary R&B venues of the city during this period, along with the 5-4 Ballroom and the Million Dollar Theater downtown. (1759 W. Santa Barbara Boulevard… now Martin Luther King Jr. Boulevard)

In crowd ’63 at the Californian club included Bob Relf of Bob & Earl (“Harlem Shuffle,” second left), Sam Cooke (“You Send Me,” “A Change is Gonna Come,” fourth left), Bobby Day (“Rockin’ Robin,” fifth left) and Johnny Taylor ("Somewhere To Lay My Head," "Rome Wasn't Built In A Day," far right). All artists had been based in Los Angeles since the 1950s.

The Sunset Strip scene makes it down to the Californian Club in 1967 for a purely inter-racial freak fest every week.

Brenda Holloway (“Every Little Bit Hurts”) was an L.A. gal who was signed to Del-Fi, then Motown Records during the ’60s, and was one of the opening acts for the Beatles at Shea Stadium (along with East L.A. group Cannibal & the Headhunters). Photo courtesy The Chuck Boyd Archive, as seen in the book Riot on Sunset Strip: Rock ’n’ Roll’s Last Stand in Hollywood.

The Blossoms, featuring Darlene Love (center), perform on the ABC television show Shindig!, taped at their Prospect Avenue studios in Los Feliz. Darlene Love made great records with Phil Spector including “Today I Met The Boy I’m Going To Marry” and “Christmas Baby Please Come Home,” as well as singing lead on the Crystals’ “He’s A Rebel” and “He’s Sure the Boy I Love”.

Marty’s on the Hill was a top jazz place in L.A. during the ’60s, located at the top of Baldwin Hills on LaBrea. Bossa Nova hitmaker Walter Wanderly (“Summer Samba,” 1966) makes the scene.

The location of Marty’s on the Hill, with it’s front parking lot. A view of L.A.’s South Bay and airport loomed in the distance to the West. (5005 S. La Brea Avenue at Stocker).

The Gerald Wilson Orchestra recorded a live album at Marty’s on the Hill, and from these sessions came the version of “Viva Tirado” that was covered in 1969 for a hit by El Chicano.

Saxophonist Earl Bostic recorded a bunch of LPs for King Records and hit with “Harlem Nocturne” in 1954. He’d moved to L.A. after a stint in Lionel Hampton’s band with Teddy Edwards. Bostic opened his R&B club during the 1950s.

A change in logos took place during the animated ’60s. Earl Bostic passed away in 1965, with his family keeping the business going until 1969, when it was purchased by Jerry ???. Jerry’s father had owned Bop City in San Francisco.

The exterior of what is now Jerry’s Flying Fox at 3724 W. Martin Luther King Boulevard.

The original neon of the Flying Fox

Swervy interior bar and dance floor at Jerry’s Flying Fox (award winning Gumbo served on Fridays)

Dumb Angel editors Domenic Priore and Brian Chidester talk to Jerry underneath the club’s entrance corridor.

Jerry ???? is a real cool guy.

Billy Preston, performing here on Shindig!, was one of the many great artists that was a regular on the L.A. R&B scene during the ’50s and ’60s.

In 1966, a new kind of club opened on Crenshaw Boulevard. Thoroughly absorbing the psychedelic and Playboy Club themes prevalent on Sunset Strip, John Daniels opened Maverick’s Flat. (4225 Crenshaw Boulevard)

An early ad for Maverick’s Flat featuring the Olympics, a “Go-Go Nite,” the play “For My People” and a weeks upcoming engagement by bongo man Willie Bobo.

On opening night of Maverick’s Flat in January of 1966, the Temptations played. When he got a load of the interior, songwriter and producer Norman Whitfiled told Maverick’s owner John Daniels, “Man, what you’ve got here is a psychedelic shack!” The Tempations later recorded a hit single by that name, with the album cover evocative of Maverick’s.

Exterior night shot of Maverick’s Flat today.

The entrance lobby of Maverick’s Flat. Cubist paintings hang behind the ticket booth.

In the Temptations’ song based on the club, they sing “you can have your fortune told, you can learn the meaning of soul”. Here is the fortune teller in the entrance of Maverick’s Flat.

Maverick’s Flat is loaded with fluffy couches, including this one in the funk-tique entrance.

African artwork graces many of the doorknob handles at Maverick’s Flat.

Owner John Daniels adapted Maverick’s Flat from what was once an old Arthur Murray dance studio, as evidenced by a logo which remains on the entryway floor.

The dance floor is braced by an observation table glazed with colored glass artwork.

A space age reclining den is adjacent to the main room.

One of several romantic getaway rooms situated inside Maverick’s Flat.

The colored glass mosaic detail in the getaway room shows a debt to the work of Simon Rodia at the Watts Towers.

The exotic flavor includes an individually decorated ceiling fan.

The main stage of Maverick’s Flat, plus mirrored surroundings.

The cavernous atmosphere of Maverick’s dance floor and stage.

One of the local acts that played Maverick’s Flat was Brenton Wood (here backed by Senor Soul, a Double Shot recording artist). Wood’s hits include “Gimme A Little Sign,” “The Oogum Boogum Song,” “Baby You Got It” and “Me And You”.

Senor Soul evolved out of a band called The Afro-Blues Quintet + 1, who recorded for Mira Records. Even earlier, members had been in the Creators on Dore Records (“Burn,” 1965). The Afro-Blues Quintet + 1 also held down house band dates at Shelly’s Manne-Hole and The Living Room, a lounge upstairs behind Ciro’s Le Disc on Sunset Strip.

A promotional photo for their first LP Senor Soul Plays Funky Favorites. The band would have a further evolution and became War in 1969, backing Eric Burdon at Thee Experience and recording “Spill The Wine” with him. They had their own hits including “The World is Ghetto,” “Cisco Kid,” “Slippin’ Into Darkness” and “Low Rider”.

The psychedelic experience hits South Central in this Maverick’s Flat mural. This is well before the Bitches Brew album by Miles Davis.

A groovy long shot of the Maverick’s Flat exterior with neon ablaze.

Nothing better than being Est. 1966, is there?

New Nightclub photos by Larry Underhill

Just released is David Anderle’s book of art, entitled Better Late Than Never. Of note are 1966 portraits of both Bob Dylan and Brian Wilson during their psychedelic phase. These portraits, as well as a host of other paintings, are inspired by the physically elongated mythological style of Modigilani.

And now, for an out-take teaser from the newly-released book by Domenic Priore, called Riot on Sunset Strip: Rock ’n’ Roll’s Last Stand in Hollywood (foreword by Arthur Lee, Jawbone Press, London), available at bookstores and online everywhere.

The Yardbirds Building.

Currently under reconstruction on the Southeast corner of Sunset and Vine is a place I’ve been referring to for a while now as “The Yardbirds Building,” which was formerly highlighted by a club with a swinging Modern motif, “Room At The Top”. The advertisement makes note of this being a cool place to hang out after a performance at Greek Theater or Hollywood Bowl.

Posing in front of Room At The Top’s ground-floor entrance fountain is the Grass Roots, who in 1966 were riding high on the local charts with “Mr. Jones,” a garage punk cover of Bob Dylan’s “Ballad of a Thin Man”. The group also charted that year with “Where Were You When I Needed You”.

Checking out the pool-like effervescence at Room At The Top, The Yadbirds, as far as I’m concerned, seem to own the building. Therefore, it is theirs, philosophically. It would be pretty difficult to imagine anyone cooler levitating this space. Left to right, Keith Relf, Chris Dreja, Jim McCarty, Jeff Beck and Paul Samwell Smith, 1965.

Riot on Sunset Sunset Strip: Rock ’n’ Roll’s Last Stand in Hollywood by Domenic Priore
Book Tour, Symposium Series, Film and Radio Events

The Dumb Angel Website invites you to please drop by any of these (mostly free) events that will be circling around the release of Dom’s new book this summer. He’s worked on it for nine years, and as his collaborator on past projects, I’m floored at what he was able to come up with. – Brian Chidester

Friday, July 6, Booksmith, 1644 Haight Street, San Francisco (guest Michael Stuart-Ware from the band Love)

Thursday, July 12, Book Soup, 8818 Sunset Strip, West Hollywood (guest Michael Stuart-Ware from the band Love)

RADIO on Wednesday, July 18, "Quiet City" on Luxuriamusic.com, 6-9 p.m. Pacific Standard Time. A Riot on Sunset Strip set will be featured w/ Domenic at the turntables

Thursday, July 19, Spoonbill & Sugartown Booksellers, Williamsburg (218 Bedford Ave., Brooklyn) guest TBA

Friday, July 27, Bluestockings Radical Books, 172 Allen Street, Lower East Side, Manhattan (1966 Sunset Strip slide show and guest TBA)

RADIO on Sunday, July 29, WFMU "The Gaylord Fields Show," 3-5 p.m. Pacific Standard Time (wfmu.org)

Tuesday, July 31, Barnes & Noble, Astor Place, Manhattan (between Greenwich Village and East Village, near the corner of Broadway and Lafayette). Special guest Barry Feinstein, photographer of the Byrds' "Mr. Tambourine Man" fisheye LP cover and director of 1966 L.A. scene documentary "You Are What You Eat"

Friday, August 10, Secret Cinema @ Philedelphia Society of Free Letts (Latvian Society), 531 N. 7th Street, Philadelphia PA. Screening of "Riot on Sunset Strip" plus 1966 Sunset Strip slide show and DJ/dance after-party. Contact: Jay Schwartz (917) 446-3087 - $7 @ 7 p.m.

RADIO on Saturday, August 11, Luxuriamusic.com special New York City edition of "Riot on Sunset Strip" featuring DJs Phast Phreddie, Domenic Priore and Audrey Moorehead. 9 a.m. Pacific Standard Time.

Sunday, August 12, Academy LPs/CDs, 96 N. 6th Street, Williamsburg (Brooklyn) featuring an in-store performance by the Nashville Ramblers (who appear on the Children of Nuggets box set) performing tunes by the Leaves, the Bobby Fuller Four, the Dovers, the Addrissi Brothers, the Buffalo Springfield, the Byrds etc. Free show starts at 6 p.m. and goes until 8 p.m.

RADIO on Wednesday, August 15, "Quiet City" on Luxuriamusic.com, 6-9 p.m. Pacific Standard Time. A Riot on Sunset Strip set will be featured w/ Domenic at the turntables

Thursday, August 16, McNally-Robinson Booksellers Inc., 52 Prince Street, Nolita, Manhattan. (guest TBA) Seems we'll be gathering at Lombardi's Pizza after this one...

Saturday, August 18, East Coast Beach Boys Fan Convention, Southbury, Conneticut, Crowne Plaza Hotel. Beatnik Beach slide show (L.A. coffeehouses and jazz joints of the late '50s and early '60s). Noon. (cover charge, please check online)

TENATIVE GUESTS in the New York City book stores include artist Gary Panter (Screamers, Pee Wee's Playhouse), Jim Pons (main guy in the Leaves, of "Hey Joe" fame), Artie Kornfeld (West Coast/East Coast mid-'60s record producer/songwriter who saw it all and later organized Woodstock) and Laura Kenyon (of Lyme & Cybelle... a duo in which her partner was a very young Warren Zevon).

Saturday, September 8, Vroman's Book Store, 695 E. Colorado Blvd., Pasadena (guest TBA) 4-6 p.m.

Friday, Saturday and Sunday, September 14, 15 and 16, Riot on Sunset Strip Weekend at the American Cinematheque, Egyptian Theater, Hollywood Boulevard. Features (so far) include a Friday night show with "Riot on Sunset Strip" and "You Are What You Eat," Saturday night it'll be "The Trip" and "Mondo Hollywood" and we're still setting up Sunday, possible matinees and live music, and possibly, a bazzar in the Egyptian's entrance corridor.

The story so far... later events at the West Hollywood Book Fair, Sponto Gallery in Venice, and plans are in the works for events in Austin and Seattle. If you're interested in booking an event, please contact Kevin Becketti (Jawbone Press) at (510) 528-1444 extension 235

JAN & DEAN BOX SET ??

Jan Berry has been dead for more than three years now. We're getting endless Beach Boys re-issues . . . but where's the love for Jan & Dean? We need a comprehensive box set of Jan & Dean material including the original mono versions of the singles and album cuts, as well as studio outtakes and backing tracks.

We also need an official release of CARNIVAL OF SOUND (1968) . . . the last great diamond in the rough for Jan & Dean. This is one of the last mysterious unreleased albums from the Psychedelic era. It was a major studio project (recorded at United, Western, and Goldstar) for a major label (Warner Bros.).

Let your voice be heard . . .

Please sign the petition:
http://www.petitiononline.com/jdcd2007/petition.html

Also . . . stay tuned for a cool Jan & Dean interview with Mark Moore . . . on FM radio from the New York City area. We'll post the details and air date as soon as we get them.

— Dumb Angel

Thursday, December 7, 2007
7:00-11:00 p.m.

Roxie Cinema, 3117 16th Street at Valencia, Mission District, San Francisco, California

Authors Domenic Priore and Brian Chidester (Beatsville, Smile: The Story of Brian Wilson's Lost Masterpiece, Dumb Angel #4: All Summer Long) will present a unique one-hour slide show documenting the Beat Generation's long stretch over the Greater Los Angeles area between 1956 and 1966, via visuals of coffeehouses and Jazz joints from the Sunset Strip to Malibu, Venice and Newport Beach.

Legendary locations only heard about in books or in liner notes, from the Gas House and nearby Venice West, to the Unicorn and Shelly's Manne-Hole in Hollywood, the Lighthouse and Insomniac Cafe in Hermosa Beach, then all the way down to Cafe Frankenstein (owned, operated and painted by Burt Shonberg) in Laguna Beach.

Artists from John Altoon to Eric "Big Daddy" Nord gave these places a colourful splash, as did the wide variety of Folk singers and poets who performed on their stages. Accompanying the slideshow will be a rare screening of Dirty Feet (1965), shot primarily at the Prison of Socrates coffeehouse in Balboa. Special guest speakers TBA, there will be another short Beat film or two (including a color one shot inside Venice West), plus a few new routines by San Francisco's own Devil-Ettes to jazz the room.

Contact the Roxie at: (415) 431-3611

Contact Domenic Priore at: (323) 333-2116

LESLEY GORE — HAIR IDOL

Lesley Gore

As most of us know, 1964 was a pretty big year for music. The English youth scene was just taking off and the British Invasion had just begun to take over America, even as American pop music was coming into its own. The Beach Boys were rocking out, having huge hits all across the country, spreading their sun-bleached love to teenage girls everywhere. James Brown & his Famous Flames were creating a stir, and Motown was starting to make it big with the Supremes, Marvin Gaye and the Tempations all happening at the same time. Lesley Gore, who was born in Brooklyn, New York had her first pop hit, "It's My Party" in April 1963 and her star kept rising throughout the next few years.

In October 1964, The TAMI Show was shot in front of a live audience of screaming teenagers at The Santa Monica Civic Auditorium in Southern California. The biggest names in music of the day were there, Chuck Berry, the Beach Boys, James Brown, Marvin Gaye, the Supremes, the Miracles, Gerry & the Pacemakers, Billy J. Kramer & the Dakotas, the Rolling Stones (the latter three representing for the Brits), Provincetown, Massachusetts' own garage godz the Barbarians and then, Lesley Gore, with hosts Jan & Dean. The TAMI Show was a huge concert that captured the excitement over everything that was happening in music at the time, and everything was new.

The theme from The TAMI Show, sung by Jan & Dean, written by P.F. Sloan and Steve Barri, told of all the amazing acts that were going to be performing ("here they come, from all over the world") and wrote in "the representative from New York City is Lesley Gore, now, she sure looks pretty." And Lesley did look pretty, with her gorgeous smile and her signature flipped hair. It's quite possible that because she was so young and so pretty, she left a strong impression on the Beach Boys, who she hung out with at the taping of The TAMI Show.

Lesley Gore — TAMI action with hosts Jan & Dean in the background (right)

The next summer, the Beach Boys came out with their great album Summer Days (and Summer Nights!!!) that featured the song "The Girl From New York City". Connection? Probably. Lesley Gore wasn't someone who was easy to forget. She had a very distinctive voice, deeper than was usually normal for pop stars, and almost raspy in some songs like "Hey Now." She was very pretty, and very energetic, two things which probably helped her become a star.

While Lesley did sing many songs like "If That's The Way You Want It" (Tell me that you aren't ready to settle down with one / Want to keep me on a string while your having fun / If that's the way you want it / So be it, my love) she also went out on a limb with songs like "You Don't Own Me" ("You don't own me / I'm not just one of your many toys / You don't own me / Don't say I can't go with other boys / And don't tell me what to do / and don't tell me what to say / and please when I go out with you, don't put me on display"), which she recorded in '63, and she was rewarded with a number 2 hit.

While Lesley is known and remembered for her voice and her catchy pop hits, I am a fan of hers for an entirely different reason. I love her hair. Lesley Gore is my undisputed hair idol.

I have the greatest hits collection, It's My Party; The Mercury Anthology and the photo that was used on the cover really is something else. I would have to imagine that it's one of the first publicity photos of Lesley Gore because she looks very young, and her hair is done up into this magnificently tall, gravity-defying bouffant with these saucy bangs.

Lesley Gore — It's My Party

I remember seeing this picture of Lesley Gore amongst my mother's extensive CD collection when I was growing up, before I ever listened to it, and was always amazed by the pretty girl's hair. Lesley's hair almost seems like it's so tall that it continues outside of the frame for at least another foot.

Lesley Gore seems to have managed to have the perfect hair for every era of hair fashion during the '60s, if her publicity photos are anything to go by. She had a short, bobbed flip for most of her early career, but she also had a long flip kept in place with headband, and various bouffant hairstyles (some better than others); I have even seen an amazing photo of her that was probably taken in the late '60s with this large bouffant compiled of large soft waves with white beads strung throughout.

I have been trying to imitate Lesley Gore's different '60s hairstyles for a while now, but can only pull off a half hearted flip. I probably just need to use more AquaNet hairspray, lots more.

Late this last winter my mother found out that Lesley Gore was going to be speaking live in front of an audience at the 92nd St. "Y" and immediately bought tickets. I was thrilled, I couldn't wait to see her, have her sign my much listened to Mercury Anthology, and inspect her hair. When Lesley walked out on stage I couldn't help but feel a little overwhelmed, just knowing that the woman standing in front of me was Lesley Gore, my hair idol. But after a few minutes of a boring interview, the shock wore off, and I looked, really looked at Lesley's hair.

While I suppose her current style is a good, modern choice for someone her age, I couldn't help but be a little disappointed. Her hair was bleached blond, straight, and cut into a choppy, short look. Compared to her hair from her youth, it was pretty boring. I kept picturing her stylized hair that curled up around her cheeks, drawing your eyes to her smile, bouncing as she walked, and her current hair that just fell flat around her face couldn't compare.

Lesley Gore belting one out in Paramount’s Girls on the Beach (1965), also featuring the Beach Boys and the Crickets

In the middle of her interview Lesley broke into song, getting a roaring ovation from the crowd who was thrilled to be hearing the songs they love her for, but again, she disappointed. Instead of giving the crowd what they wanted she sang a short medley of her hits and then sang a song off of her new album to scattered applause.

After the interview, Lesley sat in front of the auditorium to sign her albums, old and new. I approached her with my old CD and tentatively said, "I'm a big fan of yours." Lesley didn't look up, but silently signed my CD and pushed it back to me.

I mustered up all the courage I had and said, "Lesley you're my hair idol." She didn't look up; she was busy signing another CD. I'm sure she just didn't hear me.

SYD GOTTFRIED

PARTY FOR PRESERVATION

This month Dumb Angel noticed a short paragraph by Steve Lopez of The Los Angeles Times that pretty much sums up how we have arrived at our journalistic approach to Los Angeles, the music industry, the film industry and all that goes on here in mainstream circles that we prefer to avoid and circumvent. It's the same for everything here, so listen close to Lopez:

And standing up to people is what I like about (former NYC Police Chief, now in L.A.) Bratton. We all know by now that Broadway Bill likes to run his mouth, which isn't a bad thing around here. Los Angeles is corrupt and content, and one reason for it is the unwritten code that calls for polite and cordial relations among local leaders. It's an old boys' network, you might say, with one guy covering for the next and expecting the same in return.

We'll have none of that at Dumb Angel. We spent our first year back in Los Angeles eliminating this backwards "booster" mentality from our work environment . . . we mean people surrounding "the music business" . . . who carry the same kind of mentality that would have you tearing down the Cineramadome and the Capitol Tower. Industry back-watchers are the kind who would go along with the pack and say it's o.k. to dismantle such area-identifiers and put up a shoddy mixed-use development instead. (Example: how much does the music biz spend to sell bands like Velvet Revolver?)

New York City soldier Carmine Priore's photographs and postcards of Hollywood on a stay during World War II. The NBC Radio Studio on the corner of Sunset and Vine is long gone, but the Hollywood Palladium, CBS Radio Studio and Earl Carroll's Vanities buildings remain . . . if mixed use developements don't rape what's left of Hollywood's most historic district. (Thanks, dad, for the pix...)

Today, the Hollywood Palladium, the original CBS radio studio next door where the Byrds, the Monkees and Brian Wilson recorded during the mid- '60s, and especially 6230 Sunset Boulevard, just East of Vine . . . are all threatened by mixed use developers. The latter building was originally the home of Hollywood's most glamourous nightclub, Earl Carroll's Vanities, which became the Moulin Rouge (often headlined by Louis Prima and Keely Smith with Sam Butera & the Witnesses), the Hullabalo (same for Love, the
Yardbirds and Jan & Dean), the Kaleidoscope (the Doors, Big Brother & the Holding Company), the Aquarius Theater (Hair, Zoot Suit) and a bunch of other stuff as the years passed. Someone's gotta stop this kinda cultural destruction from happening; these are all major landmarks of Los Angeles history.

Therefore, we present photographs of a recent party held by the people who are doing this kind of work. After checking out our February blog on Balboa, it was decided that the birthday party for Chris Nichols, speaker for the Los Angeles Conservancy's ModCom Division, would be held in the Balboa Fun Zone area. Yes, there was news that the Balboa Fun Zone too would be torn down by developers, but the end result was reasonable; all of the oldest attractions would be staying, and the Maritime Museum they are putting there is basically in the space of a structure that was not a part of the Fun Zone's early charm. (We are losing, however, a very cool haunted house in the deal). All that said, here are the pictures from the the ModCom birthday party for Chris Nichols this past June, 2006.

From the south side of the Balboa boardwalk heading north (through a bustling summer crowd), this vintage neon for the Bay Arcade is the first thing you see . . . inside they still have a photo booth from the mid-'60s (with original Peter Max-style artwork and Mod-girl sample photos on the side — see our first blog about Balboa). Photo by Larry Underhill.

The entrance to the Ferry Boat, from the Balboa Peninsula side, boasts the old ferris wheel and another classic neon depicting a Populuxe family. Photo by Larry Underhill.

Ahoy, skipper! The Auto Ferry boat to Balboa Island. Photo by Larry Underhill.

A wide-angle view of the Balboa Pavillion with carvings in the foreground from a cruise boat dubbed, The Tiki. Photo by Larry Underhill.

Ferry Landing . . . The theme of the party was a mad Scooby Do chase scene in Balboa . . . bring a portable a.m. radio to hear Bubblegum music and clues . . . and wear a scarf, Hanna-Barbera style . . . Photo by Larry Underhill.

Only fun is in store . . . Photo by Larry Underhill.

Groovy Go Go girl Maria Basaldu diggin' the sounds and gettin' clues to solve the mystery. Photo by Larry Underhill.

Dumb Angel editor Domenic Priore tunes in . . . Photo by Larry Underhill.

DJ Penelope Pitstop spins Bubblegum records out over the local airwaves (shortwave radio transmission blanketed Balboa all evening). Listen to her radio show Bubblegum & Other Delights each Friday nite from 7-9, PST on www.luxuriamusic.com . . . Photo by Larry Underhill.

John Arroyo gets advice on the mystery from his talking monkey. Photo by Larry Underhill.

Held up as a relic o’ the times, Balboa stages and original bumper car next to the ferris wheel. Photo by Larry Underhill.

Balboa Fun Zone bumper cars. Photo by Larry Underhill.

Dumb Angel's front cover design man Chris Green tries out the photo booth. Photo courtesy of Chris Green.

Daniel, Aimee, Domenic, Brian, Steve, Jason, Chris and Vincent love the psychedelic photo booth in the Bay Arcade. Photo courtesy of Chris Green.

DJ Senor Amor hams it up with Jill McGraw. Photo by Larry Underhill.

Hanford Lemoore and tiki journalist Humuhumu. Photo by Larry Underhill.

Beatniks rule — Todd the barber and the lovely Elvia. Photo by Larry Underhill.

Julian Nitzberg with Chris and Charlene. Photo by Larry Underhill.

Cap'n Sharkey Waters reminisces about his tuna canning days whilst handing out the clues to solve our Scooby Doo mystery. Will the group solve it? Will they catch the bandit? Stay tuned . . . Photo by Larry Underhill.

Meri Pritchett and her boy Nathan think they've got the mystery solved! Photo by Larry Underhill.

8-Ball Naomi with Book of Tiki Sven Kiersten, Greg and Domenic Priore . . . check out Naomi’s bitchin’ store in Burbank, on Magnolia, and visit her website at 8ballwebstore.com . . . Photo by Larry Underhill.

Stephanie, Shikaya and Rachel — our teenage detectives. Photo by Larry Underhill.

The entrance to the Balboa Fun Zones haunted house ride . . . Photo by Larry Underhill.

Enter at your own risk . . . Photo by Larry Underhill.

Inside the haunted house ride, neon warnings light up like in a crowded montage. Photo by Larry Underhill.

Gretchen and David Zalkind go deep undercover. Photo by Larry Underhill.

Dionysus Records head-honcho, Lee Joseph. Photo by Larry Underhill.

Dig . . . Dumb Angel #4 cover artist, Chris Green (in blue shirt), with Vincent, Marjorie, Jason, Steve . . . eating nothin’ but paper napkins. Photo by Larry Underhill.

The gang tries to "Play Faro" with the great Merlini, but he keeps eating the cards. Photo by Larry Underhill.

The great Merlini as portrayed by Charles Schneider. Photo by Larry Underhill.

Guk-guk-guk-guk-guk . . . Dino Fantini, the REAL Popeye. Photo by Larry Underhill.

Daniel Paul and the lovely Aimee Boice. Photo by Larry Underhill.

Alan Leib (left) talks with friends by the Balboa Fun Zone carousel. Photo by Larry Underhill.

Caretaker Kent really kept this place clean. Photo by Larry Underhill.

Are those g-g-g-g-ghosts? . . . Photo by Larry Underhill.

The gang gets ready to pin down the monster... Photo by Larry Underhill.

Now inside the Balboa Pavillion, Chris Nichols drags the captured sea monster through the crowd . . . Photo by Larry Underhill.

Who is it? Is it Sharkey? Is it the caretaker? Is it Merlini? . . . Photo by Larry Underhill.

Har Har! It's Greg Brady! [Barry Williams] . . . Photo by Larry Underhill.

"And I would have gotten away with it too if it weren't for you meddling kids!" . . . Photo by Larry Underhill.

"Well, I do know a little choreography!" - Barry Williams . . . Photo by Larry Underhill.

"I think I'll go for a walk outside now the summer sun's callin’ my name (i hear ya now) . . ." Photo by Larry Underhill.

"Everybody's smilin’, sunshine day . . . everybody's laughin, sunshine day . . . everybody seems so happy today!" . . . Photo by Larry Underhill.

The birthday boy, Chris Nichols, with Barry Williams. Photo by Larry Underhill.

Los Angeles Conservancy Modern Committee chair Adriene Biondo enjoys a Balboa moment. Photo by Larry Underhill.

Photo selection and captions by Brian Chidester, Chris Nichols and Domenic Priore

"For anybody who grew up in Hollywood, who went to school here, what's happened to it in the last 25-30 years is heartbreaking. Groucho Marx once said that, you know, 'all of the places, when they talk about 'the good old days,' that what they're really longing for is their youth. That the hotels were dirty and cold and so forth. What they remember was that they were young'. As a kid, everything looked rosy, but the place was much cleaner, physically and geographically". -- journalist Nick Beck, from from the Morgan Neville film Shotgun Freeway

"For anybody who grew up in Hollywood, who went to school here, what's happened to it in the last 25-30 years is heartbreaking. Groucho Marx once said that, you know, 'all of the places, when they talk about 'the good old days,' that what they're really longing for is their youth. That the hotels were dirty and cold and so forth. What they remember was that they were young'. As a kid, everything looked rosy, but the place was much cleaner, physically and geographically". -- journalist Nick Beck, from from the Morgan Neville film Shotgun Freeway

LESLEY GORE