Eternal Is…

a poem by Tom Quinn
*     *     *

Eternal is…
The senseless nature of death
Or is it the smartest thing to do?
Alleviate the senses; go mad:
An instant insanity when reason becomes assumption.
Kills Polonius behind the arras.

A life in conflict

I remember the sound outside my mother.
Soft voices I would come to know.
Ambient in amniotic fluid has yet no name.
A galaxy explosion in cerebral cortex connection.
I came from it knowing self,
And from there the world outside her
From my shallow water blackout
And this life then striven for ambient definition through conflict.
Its explosion comes in shockwaves
The surreal in a short life of mine
Becomes a reason to feel.

 

Only on Catalina

by Chuck Liddell
*      *      *

Now that summer is officially here, I thought it would be both nostalgic and educational to explain how summers were enjoyed in the 50’s and 60’s on Catalina Island. Summer jobs for young people were limited only by their imagination. Some carried suitcases in their little red wagons, or rickshaws (I had one) to the hotels and homes in Avalon, when the passengers disembarked from the boats and seaplanes. I would normally charge 25cents per bag, but others would do it “comp” and simply accepted tips (they tended to do a lot better this way). For the adventurous and those wanting to bring in the big bucks, diving for coins when the S.S. Catalina and the Blanche W boats came in was the way to go (sometimes I made $15 per day!). Generally the less skilled swimmers would dive in the shallower waters on the South/East side of the Steamer Pier (approximately where the Blue Water Avalon is now located, 306 Crescent) for the Blanche. The better swimmers would dive on the North/West side — which I did from the age of 6 to 13 (1953-60). As the ship would come within view of Avalon, Miss Catalina speedboats would go out to meet them with their sirens blazing. They were generally driven by Doug Bombard or Rudy Piltch. When I felt in the mood, I would water ski around the steamer, which was exciting, but stupid! Considering the size of the wake the Big White Steamer made and the long periods of time it would take to be picked back up if/when I fell off my water skis, each run was accompanied by a major risk of being hurt (or worse). When diving for coins, we would normally wait for the Catalina to arrive at noon and then dive off the seawall and start yelling, “Throw a coin! Let’s see some silver!” It normally took an hour for all of the passengers to leave the ship. And some stayed behind simply to watch us perform. This performance was repeated again when the ship would leave at 4pm. At the foot of the pier, “Duke” Fishman would lead hundreds of locals and tourists in this greeting ritual of the 2,000 passengers with “Hi neighbor, what’s cookin? Bacon, wanna strip?”, along with the song “Avalon” and any other tunes and questionable comments that he had added to his repertoire since he started doing this in the later 1930s. There were “hawkers” who represented the different hotels. Carl Bailey, “Mr. Big” (6 feet 7 inches), would interview some of those coming off the ship who already had family members on the island that were anxious to know if they had made the long voyage ( 2 1/2 hours) safely. They were able to hear their loved ones voices over KBIG radio.

With all of this dive money, some of us would go to Mother Gray’s, 501 Crescent, where Joe Gray would make up a BIG hamburger for 25cents, with cheese for an additional 10cents, or a hot dog for 15cents, and place the main course on a large paper bag full of french fries (which cost an  additional 15cents). Money went a long way in those days. College students found that they could take their dive money and stay a weekend at the Island Villa bungalows (location of the Tour Plaza and Golf Gardens miniature golf course) for $21 and still have enough money left to show off to their date with a nice dinner ($3) and dancing in the Casino (25cents). Sometimes  I didn’t want to stay on the beach, so my friends and I would throw a baloney sandwich together with chips and go to the Bird Park, which was free, up until the middle 60’s when the price soared to 25cents, to visit all the birds. After visiting our favorites, we would bike up the storm drain to the Wrigley Memorial to enjoy our lunch. As this area was fenced off and the massive copper doors were locked, we would come in the side way from the East storm drain and then muscle our way up through the openings on the West side of the Memorial. We would then go up to the top of the back of th wall ( I was scared to death) and sit in the archway that overlooked the canyon and have our lunch. When finished, we would coast down the storm drain, generally trying to do so with the minimum use of the handle bars…and we’re still alive to talk about it!

When family or guests came over to visit, which was frequent in the days when travel was only around $2.50 each way, we would have to forgo our moneymaking and cater to their whims. We would often take them on the world’s largest side-wheeler glass bottom boat, the Phoenix, generally finding Capt. Eddie Harrison at the wheel. We would take the Island Tour in a canvas covered bus that would stop at El Rancho Escondido, where award winning Arabian horses were raised. My cousins would be enthralled by the cowboys putting some of the horses through their drill of maneuvering through obstacle courses or showing off the best of the horses by demonstrating its ability to cull out a particular young bison or calf. The tack room was spectacular! Back in town we could get a pony cart from the stables and the pony would know the hour tour, so all you had to do was sit back in your wicker basket and let the pony do its thing. For those who truly wanted a thrill, the Diving Bell at the Casino Point (West of the stairs leading to the Dive Park) would more than fit the bill. If you wanted a good swim and also liked to sun bathe at the same time, you could always go to the beaches in the harbor, where there were two floats off the beaches on their side of the Pleasure Pier. One of the floats even had a high dive. If we wanted to be a little more adventurous, we could go to the Bath House (where the volleyball courts are currently — just before the Mole) and could dive off the high dive — and it was high.

Pt.2.

They had a rowboat tug of war and jousting contests, if you wanted to get more involved and have an audience, especially if you had that special girl you wanted to show off to…

They normally used the salad boats (boat used to clear the harbor of floating kelp and debris). Generally you would want to stay near the beach, as whenever a swordfish or marlin, or other large fish was brought into the harbor, a cannon would go off to let everyone know that the fish was ready to be weighed at the end of the Pleasure Pier, to the East of the Fish Market.

Dozens of bathers would rush out to get close and personal with the fish and try to guess its weight before it was shown officially.

As a beach diversion, if you were lucky, you would be able to jump on a horse drawn hay ride or take a tram to Casino Point.

The evenings were filled with activities, too.  I would often attend square dancing (two of the groups were called Bumble Bees and Skippers) that would be followed by youth dancing in the Wrigley Plaza.

Pt.3.

After the dancing was over, they had an old fashioned slide and sing-along set up on the Wrigley Stage. Once it was dark enough, Duke (also a quite renowned photographer) would show slides of Catalina and other romantic locations around the world.

In between some of his educational slides, he would slip in pictures of very scantily “undressed” young ladies — much to the horror of parents who had young children watching. These kids were certainly getting educated…but much too early! If you wanted to see beautiful women with a bit more clothing on, then there was always the Miss Flying Fish beauty pageant for the ladies, and the all male Swim/Flying Fish Club, where young men would be initiated by having themselves doused with the entrails of flying fish, buried up to their heads in sand, and then, with a flying fish hanging from their necks, would swim from Casino Point to one of the two piers.

On special occasions, the flying fish boat, Blanche W. (named for Ada Blanche Wrigley, the first of William Wrigley Jr.’s three grandchildren), was taken on a “cruise to nowhere” when the passengers, and many times the captain and crew, didn’t really know where they were going. But wherever they ended up, fun was guaranteed.

If you wanted to simply sit back and enjoy an evening boat trip, you could pay 25cents to get on the shore boat and, as long as there was still room, you could stay on the boat all evening as it took many celebrities to and from their magnificent yachts. On land there was the Starlight Tour buses that would take passengers through the town and up over the hills to show how spectacular Avalon and the mainland looked at night!

There commentary was kept to a minimum, but with an accordion being played, the Isle of Romance really proved itself to live up to its name!

My job was to go to Joe’s-Rent-A-Boat and find out what unwanted live fish had been caught and brought back to the harbor by the fishermen.  These often consisted of small sharks and octopuses. They would be displayed in a trough at the top of the ramp at Joe’s for people to enjoy looking at during the day, or pick out for that evening’s dinner. I would take the rejects by bucket and dump them into the Wrigley Fountain, which would act as a makeshift aquarium. Unfortunately, more often than not, big kids would follow behind me with liquid detergent and squirt it in the fountain, which would eventually kill all of the fish! On certain nights the Casino Ballroom with a live orchestra would be provided for the young people to try out their ballroom dancing skills for free!

These same bands would then play well into the early hours of the morning so that their sounds could be heard all through town.

We had a sundeck on our home at 330 Descanso, where we slept during the warm summer nights. (My grandfather had built all of the homes on Descanso for the Santa Catalina Island Co. in 1921, in hopes that veterans of the Great World War would decide to set up residency in Avalon. It rarely worked out this way.) I would drift off into slumber land listening to the sounds of all the big bands of the day…it was magical! And even when the big bands packed up and left, the Mariachi bands would reliably roam Crescent Avenue both day and night.

Curfew, if I recall correctly, was 9pm. The movie, with its cartoon, travelogue, and countless previews, would change every single night. If the movie ran longer than curfew, Police Officer Bosque (note that the L.A. County Sheriff Department didn’t come to the Island until the early 1960s) would stand on the upper road and, without saying a word or having to gesture, herd us juveniles along the Via Casino walkway to the center of town where we would disperse directly home.

Office Bosque knew all of us and where we lived. If any youth deviated from the most direct route home, he would remind us of where we lived and made sure that we were on the right path! (It is funny looking back on this as none of us seemed to feel that we were being treated unfairly, as we had agreed to this arrangement, which allowed us to go see a film that let out after curfew. We just followed the rules and everyone got what they wanted.) Sometimes we were even allowed to go down to the beach with our parents in the wee hours of the morning when the grunion were running! When the adults wanted to do “their thing”, like going to dances, having a romantic dinner at the Country Club, or going to one of our many night clubs, the youth would have a great time at the El Encanto, which served as our youth center.

At the El Encanto kids could dance, meet with friends, listen to records, watch television, play ping pong, or just hang out, until their parents came to get them. This was all set up through the Community Church and was well chaperoned (although we never seemed to feel their presence). We were having too much fun! On the 4th of July, the fireworks were set off at Casino Point and we were allowed to set off our own displays on the beach on the South East end.

Yes, life WAS different then. It was corny, old fashioned, and some would even say that it bordered on “nerdy,” but we loved it and boredom was something you had to force on yourself because there was so much to do. I know that the expression, “Life was better in the old days!” is often considered simply a way for us “old folk” to try to romanticize our youth, but in Catalina’s case, it is well documented to be true!

 

 

Haiku

(Haiku: 3 lines of
 5, 7, 5 syllables)

               I               

The morning mist is
like a dream, yet the pine
on the hill is refreshed.

 People seek warmth and
enlightenment, the way leaves
turn toward the sun.

 

               II

A rainbow has no
pot of gold, just marvelous
colors circling.

My ship may never
come in, yet I am happy.
An untrampled shore!

 

***
by Tom Cushing

Do You Hear What I Hear?

Stop, children what’s that sound? Everyone look what’s going down? Over the past several cazuelas, we have taken time to attend to each one of our senses. The last of to explore is hearing. Hearing may be one of the more complicated senses. Why? Because you can easily hear a sound, but that can often be worlds apart from actually listening to it. At other times, the distinction crosses over into the metaphysical — hearing the Call of the Wild, the Sounds of Silence, or listening to the silent wisdom of others. Without resolving these complications, the gift of sound can also be the most rewarding sensory perceptions. Think of a child’s spontaneous laughter, the crash of waves against the shore, a somber chime memorializing a passing time, or a bird’s chirp.

But these sounds come and go. At their most magnificent, they seem always a fleeting gift. Disembodied recordings of our favorite sounds testify to those sonic qualities that still manage to escape capture on our advanced devices. Play it back…There’s still something missing, you can feel it in your deep inside of you. Will it ever return? Our cover is a visual representation of sound. Part of the new Tipping Point exhibition at the Catalina Island Museum, Elizabeth Turk’s “Sound Column” is an interactive sculpture designed after the recorded sound waves of now extinct birds species. Might we be offered an alternative attempt at recovering and experiencing sound? In the simplicity of the white platelets that makes up this awesome sonic swell, might we — like Nietzsche — learn to hear with our eyes? On the precipice of our own extinction, atop on-going extermination of many other species, what do we hope might be heard from the other side? A siren’s call of beautiful devastation? A tragic cry of warning?

Whatever we make of those sounds, it calls into question any of our own misconceptions about our capacity for opting to be simple observers to the plight of others. Throughout this month’s issue, contributors share their own melodies, cries, calls, refrains, lullabies, chants, whispers, giggles, stutters, and speeches. In so doing they each contribute to a lively chorus of living sound. As readers, those versed in the skill of hearing/listening with one’s eyes, you will continually make an important decision in how you receive and remember the sounds given to you. Because there is no such thing as mere spectators or observers in the dramas of this world. We, living beings, are both victims and perpetrators.

Again, we ask that as you are enjoying the pages of Cazuela that you hear our message, you listen to our words and take in all the sounds that are surrounding you. We have enjoyed sharing our thoughts on the senses through these first issues and feel blessed by all the amazing comments. We are hearing and listening to all your feedback. This publication is a true labor of love and we appreciate all your support and encouragement.

Creatively Yours,
Colin Eubank & Mr. Sean
All submissions can be sent to catalina.cazuela@gmail.com

 

Recipe for the Issue:

Start with a helping of
Articles and Observations:

LIFE IN ANOTHER LAND
by Jose Barragan
WHAT ARE YOU WORKING FOR?
by Jess Herzog
HOW ARE YOU?
by Sean Brannock
JUSSIE SMOLLETT: THE BOY WHO CRIED WOLF
by Rich Zanelli
THE SINGULARITY…IT IS COMING
by Rich Zanelli
CHANGES IN LIFE
by Salvador Macias
FEAR!
by Diego Rios

Mix in a handful of Creative Writing:

L.A.TINA
a poem by Tom Quinn
CIELITO LINDO
a song by Quirino Mendoza y Cortes
WHY
a poem by Ron Long
EMILIE
a tribute by Wendy Hernandez
THE SHELTER
a poem by Tom Cushing
BLOSSOMING
by Sophia Hall
THE MONKEY & THE CAMEL
an Aesop Fable
JULIA’S WAR
fiction by Tom Quinn
WRITER’S BLOCK
a poem by Guillermo Torres
SLEEPING ON A FLOWER
a poem by Lars Brown

Season with a dash of Essay:

WOMEN OF HERSTORY: ROSIE THE RIVETER(S)
by Constance Rux
IF FLOWERS COULD HEAR…OH, WAIT! THEY CAN?
by Carlos de la Rosa
AWAKEN YOUR WORTH
by Sky O’Connor

Add a pinch of Community Shares:

ELIZABETH TURK: TIPPING POINT
by The Catalina Island Museum
WATERCOLOR PROCESSES: A CONVERSATION WITH JOAN MOSES
by The Cazuela Team

Steep all the above in
Visual Art:

SOUND COLUMNS (APRIL COVER)
sculpture by Elizabeth Turk
CATALINA MARIACHI
Sandtrap mural by Will Richards
GRETA THUNBERG
a portrait by Ron Pyke
FONE FAUNA
stylus sketches by Caprice Roth
SPRING FLOWER COLLAGE
photos by Carlos de la Rosa

And before you know it, you’ve got a cazuela to share! Enough to satisfy our palates until next month…

Life in Another Land

by Jose Barragan
*        *        *

Moving to the United States and having to learn a new culture and language were definitely not the easiest things for a thirteen-year-old to accomplish. It was a challenge. Throughout the process of learning the new culture and language, I first had to overcome the many insults people would spit at me. Dislike would come my way almost daily, for example when I would mispronounce or misuse words in English.

But after being made fun of multiple times, I came to the conclusion that people were not just hurting me; they were unwittingly doing me a favor at the same time. Comments like “dumb Mexican” made me a stronger person by making me want to learn English even faster. Pointing to each of my mistakes, these people lent me their native speaker ears and helped me focus in on the areas I could improve. Those comments made me a bilingual adult who, today, is one of the top students in his class.

In order to accomplish my goal to learn English and not submit to the hatred of others, I always kept something that my parents had said to me when moving to this country: “The more you know, the more you are worth.” This helped me realize that learning a new language would open up more doors for me and would allow me to fill my soul with worthwhile experiences. I forgot the mistakes but learned the lessons.

IMG_3871
Catalina Mariachi Mural at the Sandtrap, by Will Richards

“Cielito Lindo”

composed by Quirino Mendoza y Cortés (1882)

De la Sierra Morena,
cielito lindo, vienen bajando,
Un par de ojitos negros,
cielito lindo, de contrabando.

Estribillo:

Ay, ay, ay, ay,
Canta y no llores,
Porque cantando se alegran,
cielito lindo, los corazones.

Pájaro que abandona,
cielito lindo, su primer nido,
Si lo encuentra ocupado,
cielito lindo, bien merecido.

(Estribillo)

Ese lunar que tienes,
cielito lindo, junto a la boca,
No se lo des a nadie,
cielito lindo, que a mí me toca.

(Estribillo)

Una flecha en el aire,
cielito lindo, lanzó Cupido,
Si la tiró jugando,
cielito lindo, a mí me ha herido.

(Estribillo)

From Sierra Morena,
a pair of deep brown eyes,
lower as they approach,
a stolen glance.

Refrain:

Ay, ay, ay, ay,
sing and don’t cry,
heavenly one, for singing
gladdens hearts.

A bird that abandons
his first nest, heavenly one,
then finds it occupied by another,
deserves to lose it.

(Refrain)

That beauty mark you have
next to your mouth, heavenly one,
don’t share with anyone but me
who appreciates it.

(Refrain)

Cupid shot off an arrow, heavenly one,
And though he was playing,
I was wounded.

(Refrain)

 

L.A.tina

IMG_3876

by Tom Quinn
*        *        *

Christina watches out her window to the city
Wonders where her boys have flown

Samuel stepped on a mine in Iraq, a piece of her heart gone

Under unfinished beams and eves we gather
In winter’s dark Atwater, morning
Missing mother’s warmth and table
Love songs come from corridor corners
Bird calls; whistles from yesterday’s jungle
Intermittent long sigh ay-ay-ay’s

There’s a new bird park in Avalon
Don’t stop the bus
Walk quietly by
And you’ll hear the songs of the Amazon
And all along the pacific flyway they wait for the end of the week
The builders of the pyramids will go home to momma
And, consuerte, a little chaka chaka

Women of HERstory: Rosie the Riveter(s)

by Constance Rux
*        *         *

When you think symbols for the “feminist movement” I am sure, depending on the decade you hail from, several images come to mind. Maybe various versions of the Greek symbol for Venus, the gurl power fist, most recently the pussy hat, or more unconventionally – the #’s (#timesup #metoo). Somewhere along the way (and, surprisingly, probably not when you think) a poster of a young woman dubbed “Rosie the Riveter” was added as a symbol of feminism. So I wanted to know – who was this woman? How did this WWll poster come to be? What was it trying to accomplish? It is now widely accepted as a symbol for women to look to, and a rally cry of sorts: “We can do it!” Yay…Do what though?

In the 1940s women still had very limited control over their financial lives and what jobs they could have. Title VII wasn’t until the 60s, and it wasn’t until the mid-70s that women could even take out a loan at a bank without bringing a husband or other male relative with them. So what is this poster talking about? Was it really what it seemed to be?

During WWII the workforce in the US was suddenly and drastically changed forever: Women and minorities were suddenly allowed to go and join the workforce. This was viewed as a necessary, but temporary, decision by business and national interests alike. You see, supplies and munitions were required to continue the Allied war effort. As France was under foreign occupation and the factories of the United Kingdom were often targets for Luftwaffe bombs, America was primarily responsible for Allied production. As businesses secured hefty government contracts to supply the military, they encountered a personnel problem: most of the young men were drafted and deployed. Women and people of color, previously shunned from the workplace and intentional kept from certain industries, were now needed and relied upon to fill the factory floor. But this does not mean that they were accepted into the workplace with open arms. In many cases, in fact, they were given the most basic jobs, with sub-standard pay, while the men who were still employed at these factories were swiftly promoted to open up these lower positions. Needing to hire a woman during a time of war was different than accepting women into the workplace: soon, soon enough, the men would come home and they (the women) too would go home.

The original Norman Rockwell painting of “Rosie” in 1943 was of a woman in factory clothing, on her lunch break, with her feet propped up on a copy of Hitler’s “Mein Kampf.” It was a wide spread image at the time, as Rockwell was a well known artist. It served as a reminder to women that it was patriotic and desirable for them to find jobs outside the home (for now). Women were “doing their part” for their country. Norman Rockwell had a young girl in his hometown pose as the model for this painting. Her name is Mary Doyle Keefe. She was very proud to be the model for this endeavor and there are multiple interviews with her as an elderly woman, recounting this experience, on youtube. (I encourage you to watch one of her interviews, she is a very sweet lady.) The painting itself is full of symbolism. By working, a woman could help trample Hitler. He chose a very specific pose for Rosie. It was to reflect the pose of Isaiah from the Sistine Chapel. By doing so he was not only referencing that women in the workplace were doing God’s work, but showing the figure of a woman literally in a man’s position.

The popular version we think of today as the “Rosie the Riveter” image is actually just know as the “We Can Do It” poster. It was not, in fact, a battle cry for women in the 1940s. It was akin to the cute kitten poster we have today where the kitten is hanging with all her might onto a branch under the words, “hang in there.” It was created for the Westinghouse Electric and Manufacturing Company in 1943 and wasn’t used nationally. Most people outside of the factory never even knew the poster existed. However, because of the popularity of the Norman Rockwell painting, any and all women who were being portrayed as a working female as propaganda were being blanketed as a “Rosie.”

By the 1980s, when this poster came back into the public eye, it had been adopted into a new meaning. That women could do everything a man could do. That “we can do it” too. What many women who dress up as Rosie for Halloween, or carry the image so proudly may not know is that the image was not a campaign in the 40s to fight for the equality of women. It was an inspirational campaign created by a company that needed to keep women in the workplace happy, and working hard. Without actually giving them equal pay, positions, or a job they could keep once their male counterpart returned from war.

I, for one, am glad to see it adopted, and adapted as the times change. It is a powerful image. Reclaiming it as a feminist image rather than what it was intended to be does have power. However, if you do not know the HERstory of the image, that the image has been claimed over to the side of feminism rather than created as such, then you have missed some of the key battles for the fight of equality along the way.

 

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