IV: Chapter 19 - page 343

[Robin Landseadel]

The "Doheny-McAdoo era" is a very CoL49 drop-in, something that points  
to the roots of scandal at the bottom of Chandler's overview of power  
and control in the greater Los Angeles region. Polanski got close in  
"Chinatown", with water being the story's "unobtanium" , but at the  
bottom of R.C.'s L.A. Tower was oil. Plenty of water 'n oil in IV, The  
"Doheny-McAdoo era"  points an arrow to the Teapot Dome Scandal, which  
places Crocker/Fenway somewhere in that ballpark—old, dirty, money.

http://www.americanheritage.com/articles/magazine/ah/1987/6/1987_6_38.shtml

Much as Howard Hughes' modern—at least as of the time covered in  
Inherent Vie—empire of dirt was based on oil-soaked bribes so the era  
of banks and entitlements being pointed to as "Doheny-McAdoo era" is  
the same era covered in Against the Day—and the Crying of Lot 49, for  
that matter. At the bottom of it all are similar financial  
machinations by Pynchon & Co.

http://www.woodrowwilsonhouse.org/timeline/ImageDisplay.asp?ID=59

Doc is as struck [in his way] by this painting of the commencement of  
the Portola Expidition as Oedipa was struck by Varo's indices of  
tears. Again and again throughout the story our stony hero asks  
questions about what might have been if only . . .

http://tinyurl.com/ydeg347

	The Portola expedition, led by Gaspar de Portolà from July 14,
	 1769 to January 24, 1770, was the first known recorded
	attempt by Spain to explore Alta California by land.[1] The
	purpose of the expedition was to secure bases in Upper
	California before the Russians.[2] The plan was to establish a
	base in the Port of Monterey (now Monterey, California) as
	described by Sebastián Vizcaíno. The expedition consisted of
	64 men in all, and approximately 200 horses and mules. The
	expedition started at the Presidio of San Diego on July 14 and
	returned on January 24, 1770 — failing to recognize Monterey
	Bay.

http://en.wikipedia.org/wiki/Portola_expedition

My favorite Art Teacher from back in my College days:

	BEN SAKOGUCHI
	ORANGE CRATE LABEL SERIES

	From the 1880's to the 1950's, California oranges were sent to
	market packed in wooden crates with big, milti-colored labels
	pasted on the ends.  Among Ben Sakoguchi's early influences
	were the bold graphics and fanciful images on the orange
	crates that were stacked behind his parents' grocery store.

	In the 1970's—after cardboard cartons had replaced wooden 	
	crates—beautifully printed labels that had long been stored in
	packing houses were being sold as collectors' items at the flea 	
	markets Sakoguchi frequented.  He was attracted by the familiar 	
	orange crate label format, and started using it in a series of 	
	small paintings.

	Just as the actual labels had depicted a wide variety of subjects	
	—Sakoguchi's paintings sampled events, issues and attitudes 	
	of modern culture.  He produced several hundred orange crate 	
	label paintings (1974 - 1981) before moving on to other 	
	projects.

	In 1994, Sakoguchi revisited the orange crate label format, and 	
	has continued the series.  The 218 paintings reproduced here 	
	date from 1994 to 2003.  They are acrylic on canvas, 10 inches 	
	x 11 inches.	

	(click on images to see each group)

http://www.bensakoguchi.com/series_orange_crate_label.php

On Jan 3, 2010, at 5:20 PM, Bekah wrote:

> Apologizing profusely if some of my material has been covered  
> earlier.  . . .