Tales of the Koko Lion, Part 27: Just A Day in L.A., Part 2

.................................................................continued from Part One

Once you were out past Los Feliz, past Atwater, it was best to stay off that narrow little old Pasadena Freeway with it's non-existant on-ramps, and head right on up into Highland Park, if you could find your way. Out there on the other side of the Golden State Freeway, the roads trickle and spill uphill into the landscape you can see from Chavez Ravine, from the cheap seats at Dodger Stadium. This was really a lot like the canyonland I came from, the winding roads up to the little hilltops like where the Bobos' house sat, at the back of a circular driveway on top of it's own little hill near Mt. Washington. It was one of those white ranch-styles. White, glittery rock halfway up the sides to white painted frame and windows with white wooden blinds. White crushed rock in the planters. White trim and a black door, with a withered wreath on it, and a WELCOME mat.

I nervously rang the bell, and Mrs. Bobo nervously answered, holding her other hand like she had a lit cigarette in it. She was a small black woman, mid-sixties-ish, delicate, wearing large-framed glasses and dressed comfortably in slacks and a shirt, with a scarf tied around her hair, over her head. She asked me in and sat me in the white living room, white walls, white furniture, a cherry wood bowl full of large, white marble grapes. I felt like an interloper right away, like I had no right to be there.

There was a palpable energy of injury in the air, and she immediately began talking to me—rather out of context it seemed—about things I didn't understand, things that I knew weren't any of my business. My God, I realized, this woman's husband has just died and she's in terrible pain. I tried to be as agreeable as I could be, sipping the coffee she'd offered me, and uncomfortably agreeing with her about everything she said.

She was making me look underneath, you know—under the cover of her life—the thirty or forty years she'd spent married to a traveling latin jazz star. I wasn't at all ready for it, for the intimacy, for the exclusivity. She looked steady into my eyes and spoke like I knew just what she was talking about—like she was telling me something as familiar to me as it was to her. And then I began to believe that it was familiar, looking into that particular wound, and that this was a private disclosure meant only for the two of us and the commensurate spirits there in the room with us.

I uneasily assumed some of her injury as we shuffled through the box of photos, a box full of their life. She stopped to tell each of the stories accompanying the shiny, curling black and white photos and faded kodachromes, few of which would serve my actual purpose for being there. Blurry moments at sunny cafés. Hasty group shots at family occasions. Party goers mid-conversation. And then I realized, this was my purpose, to be present as she made her careful in-ventory, before she could put the box away.

I picked out a few photographs that might work, but not very well—my original intentions had been gently taken hostage by sharing the trauma of this stranger who sat before me, her hands quietly shaking. Now she seemed to be speaking in directions where I didn't belong, that I didn't understand, about how none of it was right, how all of it was such a shame, how a boy ought to respect his mother.

"He never showed her the proper respect...he never did!" She said, and I realized that it wasn't her dead husband she was talking about anymore, or was it? "She's my best friend, you know...we've been best friends for years," she said, "Mrs. Gaye...I was over there last night, you know. Lord, such a sad, sad thing. Such a shame for a boy to do that." Like I knew...

It was April 3rd, 1984, and I remembered that just two days before, Marvin Gaye's father, the elder Mr. Marvin Gaye, Sr., had shot and killed his son, the iconic soul singer whose voice had played such an important part of a lot of our lives, and whose "What's Going On?" album was the smooth, profound soundtrack of a country's wounded soul. Drugs and alcohol and ego were the drivers of this tragedy, like they were for so many. Mrs. Bobo and Mrs. Gaye were the very best of friends, and had been for years, and suddenly the true size and shape of that wound I'd been witnessing became clear to me... Can I Get a Witness?

"He should have shown her the proper respect," she said, as she led me back out to the door, and sent me back down the drive, back down the little road wrapping around the hill, spilling me out onto San Fernando Road, past the Eagle Rock turn, past Forest Lawn, and on up the valley towards home.

The portrait didn't come out all that well—it was sufficient I suppose. Colorful and certainly accurate, but not one of my best. The program was printed, the festival happened, and finally one day I called to check Mrs. Bobo's address, to send back the pictures, and to see if she'd like the original painting I'd done, as a gift.

"That picture was the worst thing I ever saw," she said on the phone. "No thank you—I do not want it. It looked nothing at all like my Willie. Just send me back my pictures." So that's what I did.

It had really just been on account of one phone call, that day in L.A. Just a little ride to the edge of the box, and a peek underneath it's lid.

The latest book: How to Get to Heaven (Without Really Dying), Wisdom From a Near-Death Survivor from Llewellyn Worldwide can be ordered direct on this page or online; and the first book: How to Survive Life (and Death), A Guide To Happiness In This World and Beyond is available the same ways – but ask for them it at your local bookstore!

Tales of the Koko Lion, Part 27: Just A Day in L.A., Part 1

I'd call it the heart of Los Angeles—if it has one—that narrow strip of the world that runs across from La Cienega to the Golden State Freeway, and down from the Hollywood Hills to Interstate 10. An odd golden rectangle of sorts, within which all things two-dimensional in nature are eventually bound to occur. In New York, you can feel the connection, as though you were a functioning part in some kind of or-ganism with everything happening at once right there from bottom to top, and vice-versa.

L.A. is more like a spread-out Venice—canals criss-crossing and wandering around the flatness, gondolas in rush hour gridlock. Life tends to run downhill there, and who's to say when anything will happen. It's all about a strange kind of dis-connection – a sunny, ungrounded alternative reality. The only things easily understood are those that are readily visible on the surface, it's just that sometimes life makes you look underneath. This was going to be a day like that.

I'd gotten a  call from Playboy Enterprises to do an illustration for the Playboy Jazz Festival, so I rolled over the Cahuenga Pass and on down to their old building in West Hollywood where at one time, I hear, Hugh Hefner actually lived up in the penthouse over-looking the glory days of "The Sunset Strip."

It was dim up in their offices, and sumptuous, like a prime rib res-taurant with a Tony Bennett soundtrack. No one seemed to be quite awake yet (it was just before noon at Playboy, after all) and so it fell upon a well-dressed underling to fetch me my assignment folder, and to direct me to my Art Director, who actually wasn't actually there. He was inexplicably working out of The Schindler House, an architectural landmark nearby.

I was drifting on a bit of that Vegas-like up-all-night atmosphere, riding the elevator back down alone, when it stopped on a floor and the actor Robert Vaughan got on with me. I felt a queer, sudden schoolboyish surge, because here he was, "Napoleon Solo, The Man From U.N.C.L.E."— one of my favorite childhood TV heroes—in close quarters on an elevator at Playboy—my favorite childhood magazine (when I could lay my hands on a copy.) What a funny world.

He looked at me furtively, then instantly back away with the pain of recognition, and then stepped right up to the elevator door and stood just inches from it, looking straight ahead, glancing sideways si-multaneously avoiding me and keeping track of me. Without speaking, he very clearly said: "Don't speak."

He had the classic look of a screen actor – a short guy with a big face, big features, and he appeared, upon observation, to be a nice enough guy if he'd given it a chance, but it didn't seem like he would, or could. It was as though he were afraid. Afraid of what, I don't know. Me? I certainly was no threat, smiling there like a stand-in. Maybe he saw me notice his platform shoes, which I'm very sorry to say I did.

Maybe he really wasn't the unassailable character he played on TV. Maybe he was really a very vulnerable guy, there with the hairspray and the lifts. I liked him, and was honored to be on the same elevator with him, but the moment the doors parted he quickly stepped out—like a racer out a gate—and there he went...The Man From U.N.C.L.E...The Magnificent Seven...safe again, at last.

I gurgled around the innercity suburb streets lined with fat palms and eucalyptus, like the jungle cruise at Disneyland, over Beverly and jogging on up Kings Road. It was a little hard to find the Schindler House at first, with it's back to the street like the best of those modern residential designs—Neutra, and the Eichler houses—like the house I lived in until I was eight. I gently pushed the door open and said hello into an empty room, when Rip Georges, the accomplished and respected designer and creative director poked his head in too. Why he was working there I never really knew, but he showed me around the classic modern residence, the home of the architect, elemental and open. It was like a mix of a cave and a beautiful japanese house, with every room facing the garden, and light angling in under the angled roof. Concrete walls like a Roman villa.

It felt a little bit like breathing to me, that house. A comfortable, anthropological aesthetic as close to the region's natural architecture as any would ever be. An intuition for not needing much that so many people had sought in those foothills—like my father, who'd tried for it in the houses I knew as a child, before he left the western world be-hind. It felt that familiar, and that empty.

We sat by a built-in desk and he gave me the low-down: They wanted a portrait of the Latin per-cussionist, Willie Bobo (famous for his cool version of the Jobim song,"Gingi"). Mr. Bobo had sadly died an early death just a few months before and the festival pro-gram would include a dedication to him, so perhaps it should be something colorful, something celebratory. The only problem was photographic reference. There wasn't any, and in those days, no internet images available at the push of a button; but they did have the address and phone number of Mr. Bobo's widow. She lived out in Highland Park, and she might have some photos I could borrow to work from. It was clearly part of my job to awkwardly call her, set up a meeting time, and get directions...

.......................continued in Part 2

see more of that architectural style here, at Atomic Splendor—a pretty cool blog

The latest book: How to Get to Heaven (Without Really Dying), Wisdom From a Near-Death Survivor from Llewellyn Worldwide can be ordered direct on this page or online; and the first book: How to Survive Life (and Death), A Guide To Happiness In This World and Beyond is available the same ways – but ask for them it at your local bookstore!