Category Archives: State emblems

La Vina Madre at Olvera Street

The arbor in the courtyard of the Avila Adobe. Francisco Avila himself may have planted the vines in 1818.

The grape vines that clamber over Olvera Street (until 1877, “Calle de las Vinas”, or “Street of the Vines”) are both picturesque and historic. Few celebrate downtown Los Angeles as the spot where California’s wine industry first took root, but it was. The three 150 year-old stocks, one at Pelanconi House (now the fabulous “La Golondrina”) and two in the courtyard of the Avila Adobe, are survivors or “the Old Mission Vine” that was bred bred here in Alta California by the Franciscans, and serve as stock for so much of the world’s great vineyards. Here’s Wikipedia’s version of the story of Monsieur Vignes, known locally as “Don Luis del Aliso,” a Frenchman who was one of LA’s most illustrious early citizens.

Upon arriving in Los Angeles in 1831, Jean-Louis Vignes bought 104 acres (0.42 km2) of land located between the original Pueblo and the banks of the Los Angeles River. He planted a vineyard and started preparing to make wine. He named his property El Aliso after the centuries-old sycamore  tree found near the entrance. The grapes available at the time, of the Mission variety, were brought to Alta California by the Franciscan Brothers at the end of the 18th century. They grew well and yielded large quantities of wine, but Jean-Louis Vignes was not satisfied with the results. Therefore, he decided to import better vines from Bordeaux, Cabernet Franc andSauvignon blanc. The vines transited around Cape Horn. To preserve their roots during the long trip, they were inserted in moss and potato slices. Vignes became the first Californio who grew quality vines, and the first who aged his wines. The common practice at the time was to drink the wine as soon as it was fermented. The exact date of his first vintage is unknown. However, it was probably before 1837, because in 1857 he ran an advertisement claiming that some of his wines were 20 years old.[14] The wood for the barrels came from land Vignes owned in the San Bernardino Mountains.
In 1840, Jean-Louis Vignes made the first recorded shipment of California wine. The Los Angeles market was too small for his production, and he loaded a shipment on the Monsoon, bound for Northern California. By 1842, he made regular shipments to Santa BarbaraMonterey and San Francisco. By 1849, El Aliso, was the most extensive vineyard in California. Vignes owned over 40,000 vines and produced 150,000 bottles, or 1000 barrels, per year.

As a prominent citizen of Los Angeles, Jean-Louis Vignes met and entertained such well known men as General William Tecumseh ShermanThomas LarkinWilliam Heath Davis and Thomas ap Catesby Jones. His wine was drunk all over California and samples were sent to President Tyler in Washington, D.C. and to France.
He was quite successful in agriculture. In 1834, he brought a few orange trees from Mission San Gabriel, and planted the first orange grove in Los Angeles. In 1851, he wrote that his two orange groves produced between 5000 and 6000 oranges per season. He also grew 400 peach trees, as well as apricots, pears, apples, figs, and walnuts. In 1855, Jean-Louis Vignes sold El Aliso to his nephews Pierre Sainsevain and Jean-Louis Sainsevain for $40,000, the largest sum of money ever paid for real estate in California at the time.

— Wikipedia entry on vintner Jean-Louis Vignes

It should be added, that the old sycamore tree “El Aliso” that Vignes took as his corporate brand, was the same landmark “El Aliso”, that ancient sycamore, huge and spreading on the bank of the River, which shaded and fostered the Tongva village of Yangna for centuries. Thus, long after the Indians had been absorbed and displaced in the Pueblo, their venerated home-tree became California’s first industrial trademark brand. Talk about “cultural appropriation.”

Here’s a 2015 Los Angeles Times article on the remarkable genetics of these vines:

https://www.latimes.com/food/drinks/la-fo-0919-pueblo-20150919-story.html

“Act Naturally;” “Hollywood Boulevard;” Home of the Guitar

A guitar is literally “at home” in the Avila Adobe, LA’s oldest house (1818). The instrument was a “movable center” of Mexican life and civilization. Here, he stands in for the Don at the end of a day’s ride. His wine is poured, his frets are kicked back before a pinion-scented brazier, and God is in His heaven above.

The guitar is a legacy of Spanish culture in America. Los Angeles is, and always has been, the capital of Spanish culture in America, and Los Angeles has developed from these roots an awesome — indeed unparalleled — guitar history.

Charles Fletcher Lummis playing at El Alisal; this may be one of the photo-plate images comprising his front window. Lummis did much to document and popularize the traditional Spanish folk songs that were extant in Los Angeles at the end of the 19th Century. Norteno/mariachi music, solo recitals of folkloric songs, and/or group sing-alongs in the arroyo, were always a feature of Lummis’s celebrated dinner parties.

Los Angeles, and later Hollywood, and later still North Hollywood, have been since 1849 the destination of every dreamer with a six-string. (Remember that the “Western” portion of “Country/Western” refers to Hollywood, not Nashville; and that Capitol Records, at Hollywood/Vine, was the launching place of the Beatles, among other greats, to world audiences.) Hollywood Boulevard still attracts people of staggering talent and heartbreaking genius.

Okay, not this guy… he’s just waiting for a bus.

https://drive.google.com/file/d/1c336lh1FactDkvNg7pLqEJYVbCJFuIzn/view?usp=sharing

Click above to hear “Ringo” singing about Hollywood. (True, Ringo isn’t a guitar player, but the other Fab 3 were.) The group is “Ticket to Ride,” a wonderful Beatles cover band that appeared in NoHo Park last month. I saw “Beatlemania” four times at the Winter Garden Theatre on Broadway in the early 80s; but this Beatles concert, free, under the stars, a few steps from my front door, on the cool eucalyptus-scented green, where weed was perfectly legal, was pure heaven.

Hollywood and Vine. Up the hill is Capitol Records, the House of Wax that Johnny Mercer built.
Hollywood Boulevard, the Walk of Fame. Step on stars as you wander down the street.


Gene Autry, Woody Guthrie, Roy Rogers, native Richie Valens, Les Ford, and Frank Zappa are representative of great LA guitarists who are recognized for developing and popularizing the art and the instrument. Their beats and choruses and chords and rhythms and riffs, and the recording techniques they pioneered, are the ground work for the most popular music the world ever knew.

Click below for Brad Raisin, one of the local singer-songwriters who blesses the City of the Queen of Angels by composing among her sage-scented breezes, and performing his songs at Kulak’s Woodshed in Valley Village. Here’s Raisin’s catchy take on “Hollywood Blvd.”, a brand new song, live from North Hollywood, premiered just last week.

https://drive.google.com/file/d/1K_J3p-2BqG1mqK0qg8myj-P0n1lnYoNQ/view?usp=sharing

“The Book of Beasts” at the Getty Center

Contemporary California artist Walton Ford had the cheeky inspiration to depict the legendary griffins of Queen Califia in a style reminiscent of a 19th-century ornithology plate. Ford’s California griffin is a monster not of the Old World’s lions and eagles, but of the New World’s cougars and condors. In the Getty’s cuddly new exhibit “The Book of Beasts,” about the medieval bestiary, Ford’s is one of the last pieces you see before exiting to the gift shop. After immersion in the middle ages, the viewer sees this and makes a jarringly comical skip-and-jump to the 16th century, and the 19th, and the 21st.

The scherzo is based on the Spanish comic-book romance Esplandian (1500?) which was either one of the very last medieval books or one of the very first modern books. But in 1522 it was read — and apparently at least partly believed in — by Hernan Cortez. And Cortez, dulled by the conquest of Mexico and yearning for more, launched expeditions from Mexico to find this island of gold ruled by hot babes with that Malibu tan. He thought this land must be behind the headland we know as Cabo San Lucas.

Cortez found no griffins in Baja and gave up, but not before coasting the “Sea of Cortez” (also known as the Gulf of California). And it was Cortez’s name for the land floating in that sea that would stick on Spanish maps; the island of California. Here’s the famous passage that piqued Cortez’s codpiece:

“Know that, on the right hand of the Indies was an island called California, very near to the region of the Terrestrial Paradise, which was populated by black women, without there being any men among them, that almost like the Amazons was their style of living. They were of vigorous bodies and strong and ardent hearts and of great strength; the island itself the strongest in steep rocks and cliff boulders that is found in the world; their arms were all of gold, and also the harnesses of the wild beasts, on which, after having tamed them, they rode; that in all the island there was no other metal whatsoever… On this island, called California there were many griffins … and in the time that they had young these women would — take them to their caves, and there raise them. And … they fattened them on those men and the boys that they had born… Any make that entered the island was killed and eaten by them … There ruled on that island of California, a queen great of body, very beautiful for her race, at a flourishing age, desirous in her thoughts of achieving great things, valiant in strength, cunning in her brave heart, more than any other who had ruled that kingdom before her: Queen Califia.”

Garcia Ordonez de Montalvo, “The Adventures of Esplandian,” @ 1500
At once relic and reliquary, Damien Hirst’s sly zoological phantasm punctuates the theme of the exhibit. With our enlarged understanding of the medieval myth, we can appreciate Mr. Hirst’s 21st-century take on this animal. Naturally, a Unicorn’s skull would be solid gold.

But the star of the exhibit, and the metaphorical darling of our day, is the Unicorn. His evolution in the medieval imagination, along with other fabulous fauna like manticores and dragons, are presented through fine and decorative arts pieces that molded that imagination.

The Legend of the Pelican in gold.

“The symbolism of the mother pelican feeding her little baby pelicans is rooted in an ancient legend which preceded Christianity. The legend was that in time of famine, the mother pelican wounded herself, striking her breast with the beak to feed her young with her blood to prevent starvation. Another version of the legend was that the mother fed her dying young with her blood to revive them from death, but in turn lost her own life.

Given this tradition, one can easily see why the early Christians adapted it to symbolize our Lord, Jesus Christ. The pelican symbolizes Jesus our Redeemer who gave His life for our redemption and the atonement He made through His passion and death. We were dead to sin and have found new life through the Blood of Christ. Moreover, Jesus continues to feed us with His body and blood in the holy Eucharist.

This tradition and others is found in the Physiologus, an early Christian work which appeared in the second century in Alexandria, Egypt. Written by an anonymous author, the Physiologus recorded legends of animals and gave each an allegorical interpretation. For instance the phoenix, which burns itself to death and rises on the third day from the ashes, symbolizes Christ who died for our sins and rose on the third day to give us the promise of everlasting life. The unicorn which only allows itself to be captured in the lap of a pure virgin, symbolizes the incarnation. Here too the legend of the pelican feeding her young is described: “The little pelicans strike their parents, and the parents, striking back, kill them. But on the third day the mother pelican strikes and opens her side and pours blood over her dead young. In this way they are revivified and made well. So Our Lord Jesus Christ says also through the prophet Isaiah: I have brought up children and exalted them, but they have despised me (Is 1:2). We struck God by serving the creature rather than the Creator. Therefore He deigned to ascend the cross, and when His side was pierced, blood and water gushed forth unto our salvation and eternal life.” This work was noted by St. Epiphanius, St. Basil and St. Peter of Alexandria. It was also popular in the Middle Ages and was a source for the symbols used in the various stone carvings and other artwork of that period.”

— Fr. William Saunders, The Catholic Education Resource Center website

Palm Sunday

The Mission church is a “chapel of ease” in the Los Angeles archdiocese; and a very popular one.

The first Palm Sunday mass in the Valley was celebrated by Fr. Dumetz at San Fernando Mission in 1798.

Fr. Fermin Lasuen had planted these first palm trees in the Valley the previous fall, in1797. They grew tall shading the churchyard until San Fernando Mission was in ruins. (To re-View: Canary Island date palms were were planted at each mission. The primary purpose was to have fronds available to celebrate the mass that begins Holy Week.)

Here’s a quick View of the 2019 Palm Sunday mass at the Mission. Click and listen to the bells!

https://drive.google.com/file/d/1MlGbFITjiBBoIq43yuOZ7AXwHnpkAgeh/view?usp=sharing