“We dissected frogs in biology.”
I was still talking about how hilarious and bizarre it was that a frog used its eyeballs to swallow when Mom walked through the door carrying a white box tied with red string. “Key lime pie for my girls!” she announced, holding up the box. Her face was glowing and she had a giddy smile. “It’s a special occasion, because our lives are about to change.”
As Mom cut the pie and passed the slices around, she told us that while she’d been at that recording studio, she’d met a man. He was a record producer named Mark Parker, and he’d told her that the reason she wasn’t landing gigs as a backup singer was that her voice was too distinctive and she was upstaging the lead singers.
“Mark said I wasn’t cut out to play second fiddle to anyone,” Mom explained. He told her she had star quality, and that night he took her out to dinner and they talked about how to jump-start her career. “He’s so smart and funny,” Mom said. “You girls will adore him.”
“Is he serious, or is he just a tire-kicker?” I asked.
“Watch it, Bean,” Mom said.
Bean’s not my real name, of course, but that’s what everyone calls me. Bean.
It wasn’t my idea. When I was born, Mom named me Jean, but the first time Liz laid eyes on me, she called me Jean the Bean because I was teeny like a bean and because it rhymed—Liz was always rhyming—and then simply Bean because it was shorter. But sometimes she would go and make it longer, calling me the Beaner or Bean Head, maybe Clean Bean when I’d taken a bath, Lean Bean because I was so skinny, Queen Bean just to make me feel good, or Mean Bean if I was in a bad mood. Once, when I got food poisoning after eating a bowl of bad chili, she called me Green Bean, and then later, when I was hugging the toilet and feeling even worse, she called me Greener Beaner.
Liz couldn’t resist playing with words. That was why she loved the name of our new town, Lost Lake. “Let’s go look for it,” she’d say, or “I wonder who lost it,” or “Maybe the lake should ask for directions.”
We’d moved to Lost Lake from Pasadena four months ago, on New Year’s Day of 1970, because Mom said a change of scenery would give us a fresh start for the new decade. Lost Lake was a pretty neat place, in my opinion. Most of the people who lived there were Mexicans who kept chickens and goats in their yards, which was where they practically lived themselves, cooking on grills and dancing to the Mexican music that blared from their radios. Dogs and cats roamed the dusty streets, and irrigation canals at the edge of town carried water to the crop fields. No one looked sideways at you if you wore your big sister’s hand-me-downs or your mom drove an old brown Dart. Our neighbors lived in little adobe houses, but we rented a cinder-block bungalow. It was Mom’s idea to paint the cinder blocks turquoise blue and the door and windowsills tangerine orange. “Let’s not even pretend we want to blend in,” she said.
Mom was a singer, songwriter, and actress. She had never actually been in a movie or made a record, but she hated to be called “aspiring,” and truth be told, she was a little older than the people described that way in the movie magazines she was always buying. Mom’s thirty-sixth birthday was coming up, and she complained that the singers who were getting all the attention, like Janis Joplin and Joni Mitchell, were at least ten years younger than her.
Even so, Mom always said her big break was right around the corner. Sometimes she got callbacks after auditions, but she usually came home shaking her head and saying the guys at the studio were just tire-kickers who wanted a second look at her cleavage. So while Mom had her career, it wasn’t one that produced much in the way of income—yet. Mostly we lived on Mom’s inheritance. It hadn’t been a ton of money to begin with, and by the time we moved to Lost Lake, we were on a fairly tight budget.
When Mom wasn’t taking trips into L.A.—which were draining because the drive was nearly four hours in each direction—she tended to sleep late and spend the day writing songs, playing them on one of her four guitars. Her favorite, a 1961 Zemaitis, cost about a year’s rent. She also had a Gibson Southern Jumbo, a honey-colored Martin, and a Spanish guitar made from Brazilian rosewood. If she wasn’t practicing her songs, she was working on a musical play based on her life, about breaking away from her stifling Old South family, jettisoning her jerk of a husband and string of deadbeat boyfriends—together with all the tire-kickers who didn’t reach the boyfriend stage—and discovering her true voice in music. She called the play “Finding the Magic.”