Waiting for the Lyft outside of La Cuevita. (Pic: Liz O.)
We were right around a dark stretch of the 110, near where the freeway crosses the L.A. River when I saw very brief flash of light and heard my Lyft driver gasp. Somebody was running across the freeway, he said. I looked to the side and saw a figure— thin, dressed entirely black save for the sneakers, which had something reflective on them— climb over the barricade. I don’t know about the driver, but I was stunned for the rest of the ride home from La Cuevita, remaining mostly silent through the end of “Personal Jesus,” which was bumping in the car, and then nervously tapping the beat of “This Charming Man” on my leg while thinking about how grateful I was to have gotten such a good driver right before the surge pricing went into effect on the Friday before Christmas.
Included in my top 10 albums of 2023 are (top row) Taleen Kali “Flower of Life,” Grey Factor “1979-1980 A.D.” (bottom row) Optometry “After-Image,” Decisive Pink “Ticket to Fame”
I don’t know if the annual “best of” lists are necessarily fair. There is still a virtual pile of 2023 albums on my Bandcamp wishlist and running list in my head of albums that I need to hear. There are likely new albums from bands I follow that I don’t know about because, well, you know how social media works these days. Then there are the albums and bands who aren’t even on my radar, but will be next year, or the year after that, or maybe a half-decade down the line. Still, I made a list of my top 10 albums of 2023 that include music you may have heard in my DJ sets IRL, on Mixcloud or a few of the radio appearances I’ve done this year.
A few years ago, I finally got over my fear of tequila (we’ll save that story for another day) and realized that I love margaritas. They’re tart and salty with just a hint of sweetness underneath, all qualities I appreciate in everything. The Mermaid, where I play (more or less) monthly as part of L.A. Industrial’s party Dolce Vita, is home to a very good margarita. In fact, I would say, no matter who is bartending on any given night, it’s consistently the best classic margarita I’ve had. I don’t know the secret. I just know that it’s so good that I keep going for the margarita instead of working my way through The Mermaid’s ample menu of cocktails, even though I know from experience that their specialty drinks are delicious.
That time in 2022 that I found the 12″ single for Charo “(Mamacita) ¿Donde Esta Santa Claus?” at PCC Flea Market. (Photo: Liz O.)
The 12” appeared in the midst of a deep dig through crates set up inside a Pasadena City College parking garage during the monthly PCC flea market. I had already excavated records by Harry Nilsson, Tangerine Dream and Patrice Rushen when a friend, whose visit to Los Angeles was the catalyst for this adventure, called me over to a booth filled with soundtrack albums and soul records. I flipped through As the Record Turns ‘ vinyl selection and paused when I noticed “(Mamacita) ¿Donde Esta Santa Claus?” the 1978 disco Christmas single from Charo, “A Tom Moulton Mix” released as an extended 12” single on Salsoul with a stamped note on the backside of the cover that read:
“In all my life, the most happy time of the year is Christmas and I want to share it with you. When you play this record I’ll be with you. Merry Christmas. Love and cuchi cuchi, Charo.”
With only a handful of gigs left for this year, I figured that now is a good time to post my top 10 jams for 2023. Technically, these aren’t all songs that came out this year, and my top pick I actually started playing in 2022, but they all made an impact on my DJ set in 2023. Check out the list below and I hope to see you on the dance floor soon.
I forgot to take pics last night, save for this one of a sign in the stairwell.
I don’t know what I’m most grateful for tonight. Was it the people at Club Underground who danced to the brand new Confidence Man tune? Was it the person who admitted listening to Confidence Man, who released one of my favorite albums of 2022, because of my sets? (BTW, Confidence Man is at the Echoplex on December 2.) Or, was it the trio who listened to my rant about how Chumbawamba were the working class heroes we needed, but we didn’t deserve them and now we’re stuck with capitalist icon Taylor Swift? Maybe it’s all that.
Last night was the first time I played Gold Diggers, which is a small music venue/hotel/recording studio on Santa Monica Boulevard in Hollywood that’s filled with disco balls and good vibes. It was Dum Dum Records Second Anniversary party and Taleen Kali had asked me to DJ alongside Ann Eliza for the night. So, this was also the third event with Taleen that I’ve played this year. (I DJed for shoegaze night at the band’s Harvard and Stone residency and at the Flowers of Life album release afterparty back in April. However, it was, Taleen noted late in the night, the first where we both ended up on the dance floor at the same time. It was also initially going to be the first time Ann Eliza and I DJed together, but we both ended up playing Vidéothèque’s reopening party last month.
Thanks to everyone who joined Jus’ B, Jen Rock and me at Grand Star Jazz Club on Sunday afternoon for Disco Matinee. It was great to see everyone on the dance floor for a mix of disco classics, freestyle jams and more. I played all-vinyl sets this time. Keep reading to see what was in them.
The crowd at Underground dancing to an old Mylo/Scissor Sisters mashup.
One of the first things I learned in the DJ booth— and this might actually be a life lesson— is that you never know where the night will take you. Planning a set is futile because what you play is always dependent on what will make people dance. You won’t know what will make a specific crowd on a specific night dance until you see it for yourself. So, I never plan sets. I usually have songs floating through my brain, but plenty of times, like at Underground last night, those aren’t the ones I end up playing. So, maybe I’ll play those next week . You should stop by and find out for yourself.
Albert Reyes’ haunted house for October, 2023 (Pic: Liz O.)
Back in 2009, I was standing in at the Japanese American National Museum in Little Tokyo for a massive Giant Robot exhibition and ended up chatting with one of the artist’s in the show, Albert Reyes. I had just started working full-time at L.A. Weekly, so I hit him up for an interview and then he invited me to his Halloween house party/art maze. Considering how many stories of mine have been lost within the black hole of the Internet over the years, I’m surprised that short interview is still online. Over the years, I interviewed Albert a few times, the most recent for Los Angeles Magazine in 2019, when he had a solo exhibition at Eastern Projects in Chinatown, and have seen a number of his haunted houses. This year, for the second year in a row, I got to DJ at Albert’s haunted house.
