Lifestyle
50 years ago, 'Come and Get Your Love' put Native culture on the bandstand
Founded by brothers Pat and Lolly Vegas, Redbone scored a Top 5 hit in 1974 with “Come and Get Your Love,” launching their Indigenous style and influences into the pop conversation.
Sandy Speiser/Courtesy of Sony Legacy
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Sandy Speiser/Courtesy of Sony Legacy
Founded by brothers Pat and Lolly Vegas, Redbone scored a Top 5 hit in 1974 with “Come and Get Your Love,” launching their Indigenous style and influences into the pop conversation.
Sandy Speiser/Courtesy of Sony Legacy
Fifty years ago this month, President Richard Nixon was facing impeachment. Hank Aaron broke Babe Ruth’s home run record. Leaders of the American Indian Movement were on trial after the armed standoff at Wounded Knee. And the song “Come and Get Your Love” was one of the biggest hits on the radio.
This soulful pop tune by the band Redbone was, in some ways, related to what was going on politically. It became the first song by an all-Native and Mexican American band to crack the Billboard Top 10, peaking at No. 5 on April 13, 1974.
Since its release on Redbone’s 1973 album Wovoka, “Come and Get Your Love” has been used in commercials, on TV shows including the Netflix series F Is for Family and in movies. The song captured a new generation of fans in 2014, when actor Chris Pratt danced to it in the opening scene of Marvel’s Guardians of the Galaxy.
Musician Stevie Salas remembers first hearing “Come and Get Your Love” as a sixth grader in Oceanside, Calif., where it came on during a school dance. Salas, who is Apache, has played guitar with musicians such as Rod Stewart, Bootsy Collins, Mick Jagger and Justin Timberlake. He’s also an executive producer on a documentary about Native musicians called Rumble: Indians Who Rocked The World. But back in sixth grade, he had no idea the musicians behind “Come and Get Your Love” were Native and Mexican American — until he saw them on TV.
“Redbone came on and they were all dressed like Natives. I mean, that was just mind-blowing,” Salas recalls. “But at the same time, you’d see people dressed like that, you know, on Halloween. So I don’t know, are they real Indians? It’s like that. But they sure look cool.”
Redbone added a traditional Native intro to “Come And Get Your Love” when the band performed it on The Midnight Special in 1974.
The Midnight Special
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The pompadour years
Redbone’s founders had always cultivated a striking look, though the decision to showcase their Native culture onstage took time.
Brothers Pat and Lolly Vasquez grew up in Fresno, Calif. According to Pat’s memoir, their mother was Shoshone, while their father had both Mexican and Native roots including Yaqui, Papago and Navajo. Their maternal grandfather was a musician from Texarkana who played Cajun and Mariachi music, and who taught Pat and Lolly to play guitar. When the brothers started playing as a duo, Pat switched to bass.
In the late 1950s, the two started playing gigs in and around Los Angeles, from sock hops to family picnics. After a music industry veteran recommended they change their surname to appeal to white talent bookers, they put a spin on their stepfather’s name, De La Vega, rebranding as Pat & Lolly Vegas. Their stage style in this era was suits and slicked-back pompadours: “We used to get our hair done and all this stuff. We had a real straight look,” remembers Pat Vegas, who, at 83, is the last surviving original member of Redbone. (Lolly died in 2010.)
In addition to the club gigs, the Vegas brothers were session musicians and songwriters. They appeared in the 1967 beach comedy It’s a Bikini World, and teamed up with other musicians to record surf music under the name The Avantis.
Before they formed Redbone, brothers Pat and Lolly Vegas were a popular duo that played in Los Angeles clubs, and on the TV show Shindig! in 1964.
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The Vegas brothers were successful making music that appealed to the mainstream. But they were also inspired by the Civil Rights movement, and by Native activists who were calling out the poverty on reservations, broken treaties and other injustices. “Our friends were going out there and marching and protesting,” Pat Vegas says, explaining that as entertainers, they wanted to show the world a more accurate depiction of Native people. “Because it was being overlooked. They saw us in Western movies being chased by the cowboys, and we didn’t want to be a part of that. We wanted to show that we had grown and we were part of the future.”
Pat & Lolly Vegas eventually ditched the pompadours, and set out to form a band of all Native and Mexican American players. They were joined by rhythm guitarist Tony Bellamy, who was of Mexican and Yaqui descent, and drummer Pete DePoe, who was Cheyenne. They grew their hair long, and began performing in Native dress on stage. The choice wasn’t just a reaction to the politics of the moment, Vegas says — it was who they were.
“My mom was proud of her Native American roots, and I was too,” he says. “So automatically, we knew what we wanted, and the sound came out that way, and it was beautiful. I just wanted to be real.”
A sound both political and ‘all about love’
The new group called itself Redbone, a slang term that some might find offensive, though the members said they used it to mean mixed race. The band signed with Epic Records and set about creating its own sound, what Vegas has called “Native American swamp rock.”
In 1973, a group of Native activists occupied the town of Wounded Knee in South Dakota — the same site where, 83 years earlier, hundreds of Lakota had been massacred by U.S. soldiers. Pat Vegas says he “felt the struggle,” and wanted to contribute.
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For Redbone’s album Wovoka, Vegas wrote the song “We Were All Wounded at Wounded Knee.” The song became a hit in Europe, but CBS refused to release it in the U.S., fearing it was too controversial. Vegas has said that he understood the company’s reasoning and that he wasn’t angry (though some scholars, like University of Idaho professor Jan Johnson, have called it a missed opportunity and an example of “historical amnesia” around events that make us uncomfortable).
There was, however, another song on Wovoka that the label thought could be a hit. As Pat Vegas tells it, he and his brother worked on “Come and Get Your Love” late one night in Philadelphia, where they were performing a series of gigs. It was finished the next day.
In his memoir, Pat claims that the song was co-written by the two of them, but that Lolly claimed sole credit for it with the label. He writes that while he was “appalled” and “furious” with his brother, he chose to stay silent, believing that raising a stink would hurt Redbone’s reputation. When I asked how the disagreement affected their relationship, he says, “We got over it.”
‘A sound that was so inclusive’
“Come and Get Your Love” spent 18 weeks in the Top 40 and was the fourth most popular song of Billboard‘s Hot 100 for 1974. In the years since, its presence has continued to echo through pop: The Eurodance group Real McCoy released a club-ready cover, Cyndi Lauper updated her own “Girls Just Want to Have Fun” by mashing it up with Redbone’s hit —and, in 2020, Sony’s Legacy Recordings released the song’s first official music video, an animated short by Native artist Brent Learned and producer and director Juan E Bedolla.
Taboo Nawasha of the Black Eyed Peas says Redbone “kicked down the door” for Native musicians like himself.
Taboo Nawasha
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Taboo Nawasha
In the 1970s, the song’s massive popularity gave the members of Redbone a platform to show pride in their Native heritage. Rapper Taboo Nawasha of chart toppers the Black Eyed Peas says that’s what he, another musician of Native and Mexican ancestry, strives for in his music.
“With a sound that was so inclusive, [“Come and Get Your Love”] was for everyone to come and rock out,” Nawasha says. “Redbone kicked down the door and said, ‘We’re proud to be Native, check us out. We’re here, we’re alive and we’re going to bring that great energy and that good medicine to the world.’ “
Reflecting on the song 50 years later, Pat Vegas says a lot of people think “Come and Get Your Love” is about romance. They’re not entirely wrong — but there’s more to it than that.
“It’s love all around, in every facet and every part of your being, you know?” he says. “And that’s the message: What’s the matter with your mind and your sign? Come and get your love. In other words, where you come from and who you are doesn’t matter as much as what you believe, and what you feel.”
The audio version of this story was edited by Rose Friedman and produced by Isabella Gomez Sarmiento. The digital version was edited by Daoud Tyler-Ameen.
Lifestyle
Feeling cooped up? Get out of town with this delightful literary road trip
Tom Layward, the narrator and main character of Ben Markovits’ new novel, The Rest of Our Lives, introduces himself in a curious way: On the very first page of the book, he talks, matter-of-factly, about the affair his wife, Amy, had 12 years ago, when their two kids were young.
Amy, who’s Jewish, got involved at a local synagogue in Westchester; Tom, who was raised Catholic and is clearly not a joiner, remained on the sidelines. At the synagogue, Amy met Zach Zirsky, who Tom describes as “the kind of guy who danced with all the old ladies and little pigtailed girls at a bar mitzvah, so he could also put his arm around the pretty mothers and nobody would complain.”
After the affair came out, Tom and Amy decided to stay together for the kids: a boy named Michael and his younger sister, Miriam. But, Tom tells us “I also made a deal with myself. When Miriam goes to college you can leave, too.” The deal, Tom says, “helped me get through the first few months … [when] we had to pretend that everything was fine.”
Twelve years have since passed and the marriage has settled back into a state of OK-ness. Miriam, now 18, is starting college in Pittsburgh and because Amy is having a tough time with Miriam’s departure, Tom alone drives her to campus.
And, once Tom drops Miriam off, he just keeps driving, westward; without explanation to us or to himself; as though he’s a passenger in a driverless car that has decided to carry him across “the mighty Allegheny” and keep on going.

The three-page scene where Tom passively melds into the trans-continental traffic flow constitutes a master class on how to write about a character who is opaque to himself. “[Y]ou don’t feel anything about anything,” Amy says early on to Tom — an accusation that’s pretty much echoed by Tom’s old college girlfriend, Jill, whom he spontaneously drops in on at her home in Las Vegas, after being out of touch for roughly 30 years.
But, if Tom is distanced from his own feelings (and vague about the “issue” he had “with a couple of students” that forced him to take a leave from teaching in law school), he’s a sharp diagnostician of other people’s behavior. What fuels this road trip is Tom’s voice — by turns, wry, mournful and, oh-so-casually, astute.
There’s a strain of Richard Ford and John Updike in Tom’s tone, which I mean as a high compliment. Take, for instance, how Tom chats to us readers about a married couple who are old friends of his and Amy’s:
[Chrissie] was maybe one of those women who derives secret energy from the troubles of her friends. Her husband, Dick, was a perfectly good guy, about six-two, fat and healthy. He worked for an online tech platform. I really don’t know what he did.
So might most of us be summed up for posterity.

As Tom racks up miles, taking detours to visit other folks out of his past, like his semi-estranged brother, his meandering road trip accrues in suspense. There’s something else he’s subconsciously speeding away from here besides his marriage. Tom tells us at the outset that he’s suffering from symptoms his doctors ascribe to long COVID: dizziness and morning face swelling so severe that daughter Miriam jokingly calls him “Puff Daddy.” Shortly after he reaches the Pacific, Tom also lands in the hospital. “Getting out of the hospital,” Tom dryly comments, “is like escaping a casino, they don’t make it easy for you.”
The canon of road trip stories in American literature is vast, even more so if you count other modes of transportation besides cars — like, say, rafts. But, the most memorable road trips, like The Rest of Our Lives, notice the easy-to-miss signposts — marking life forks in the road and looming mortality — that make the journey itself everything.
Lifestyle
Behind this wealthy SoCal neighborhood, you can soak in a rustic hot spring oasis
The water bubbles up hot from the earth and sunlight filters down through the branches of mighty oaks.
But before you can soak in Santa Barbara County’s highly popular Montecito Hot Springs, you’ll need to hike a little over a mile uphill, threading your way among boulders, oaks and a meandering creek. And before the hike, there are two other crucial steps: getting to the trailhead and knowing what to expect.
The trail to Montecito Hot Springs.
These rustic spring pools are about 95 miles northwest of L.A. City Hall, just upslope from well-to-do Montecito, whose residents include Oprah Winfrey, Prince Harry and his wife, Meghan Markle, and Gwyneth Paltrow.
Though the trail and hot springs are part of Los Padres National Forest, the trailhead is in a residential neighborhood of gated mansions. Beyond the trailhead parking area (which has room for eight or nine cars), the neighborhood includes very little curbside parking. After visitation surged during the pandemic, some neighbors were accused by county officials of placing boulders to obstruct public parking. Parking options were reduced further when county officials added parking restrictions earlier this year.
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Bottom line: Unless you can arrive on a weekday between 8 and 10 a.m., you’re probably better off taking a rideshare service to get there. Whenever you arrive, you’re likely to have company. And you might want to wait until the landscape dries out a bit from the rains of recent weeks.
As Los Padres National Forest spokesman Andrew Madsen warned, “the foothills of Santa Barbara are especially fragile and hiking is especially precarious in the aftermath of heavy rains.”
All that said, the hike is rewarding and free. From the Hot Springs Canyon trailhead at East Mountain Drive and Riven Rock Road, it’s a 2.5-mile out-and-back trail to the hot springs, with about 800 feet of altitude gain on the way.
Arriving at 10 a.m. on a Tuesday, I got the last parking spot at the trailhead, stepped past the signs forbidding parking before 8 a.m. or after sunset, then stepped past another sign warning that “this is a challenging and rugged hike.” Also, there are no bathrooms or trash cans on the trail or at the springs.
“It’s important that people know what’s going on up there before they show up,” said Madsen. “It’s not all that glamorous.”
Even though it’s only 1.2 or 1.3 miles to the hot springs, plan on about an hour of uphill hiking. Once you’re above the residential lots, you’ll see pipes along the way, carrying water down the hill, along with occasional trailside poison oak. As you near the pools, you’ll pick up the scent of sulfur and notice the water turning a strange bluish hue. Then the trail jumps across the creek — which I initially missed.
But there was a silver lining. That detour gave me a chance to admire the stone ruins of a hotel that was built next to the springs in 1870s. After a fire, it became a private club. Then it burned in the Coyote fire of 1964, which blackened more than 65,000 acres, destroyed more than 90 homes and killed a firefighter. The hot springs and surrounding land have been part of Los Padres National Forest since 2013.
Hikers look west from the ruins near Montecito Hot Springs.
(Christopher Reynolds / Los Angeles Times)
On a clear day with the sun in the right place, you can stand among the overgrown ruins, look west and see the ocean, a few old oil platforms and the long, low silhouette of Santa Cruz Island. This is what the native Chumash would have seen (minus the oil platforms) through the many years they used the springs before European immigrants arrived.
Pleasant as that view was, I was ready to soak, as were the two couples who got momentarily lost with me. (We were all Montecito Hot Springs rookies.) Once we’d retraced our steps to the creek and crossed it, the trail took us quickly past a hand-lettered CLOTHING OPTIONAL sign to a series of spring-fed pools of varying temperatures.
A dozen people were already lazing in and around the uppermost pools (one woman topless, one man bottomless), but several pools remained empty. I took one that was about 2 feet deep and perhaps 90 degrees. In one pool near me sat Ryan Binter, 30, and Kyra Rubinstein, 26, both from Wichita, Kan.
Hikers Ryan Binter and Kyra Rubinstein, visiting from Wichita, Kan., soak at Montecito Hot Springs.
(Christopher Reynolds / Los Angeles Times)
“She found this,” said Binter, praising Rubinstein’s internet search savvy.
At the next pool were Emanuel Leon, 20, of Carpinteria, Calif., and Evelyn Torres, 19, of Santa Barbara. The last time they’d tried this hike, they’d strayed off-track and missed the hot springs, so this time, they were savoring the scene.
“Revenge!” said Leon, settling in.
The soaking was so mellow, quiet and unhurried that I was surprised to learn that the pools were not erected legally. As Madsen of the Los Padres National Forest explained later by phone, they were “created by the trail gnomes” — hikers arranging rocks themselves to adjust water flow and temperature, with no government entities involved.
Legal or not, they made a nice reward after the hike uphill. The downhill hike out was easier and quicker, of course, but still tricky because of the rocks and twisting trail.
On your way out of Montecito, especially if it’s your first time, take a good look at the adobe-style grandeur of the Our Lady of Mt. Carmel Catholic Church building, which looks like it was smuggled into California from Santa Fe. For food and drink, head to Coast Village Road (the community’s main drag) or the Montecito Village Shopping Center on East Valley Road. Those shops and restaurants may not match the wonder and comfort of a natural bath in the woods, but for civilization, they’re not bad.
Lifestyle
George Clooney gets French citizenship — and another dust-up with Trump
The French government confirmed this week that it has granted citizenship to George and Amal Clooney — pictured on a London red carpet in October — and their 7-year-old twins.
Henry Nicholls/AFP via Getty Images
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Henry Nicholls/AFP via Getty Images
One of Hollywood’s most recognizable stars is now officially a French citizen.
A French government bulletin published last weekend confirms that the country has granted citizenship to George Clooney, along with his wife, human rights lawyer Amal Clooney, and their 7-year-old twins.
The Clooneys — who hail from Lexington, Ky. and Beirut, Lebanon, respectively — bought an 18th-century estate in Provence, France in 2021. In an Esquire interview this October, the Oscar-winning actor and filmmaker described the French “farm” as their primary residence, a decision he said was made with their kids in mind.

“I was worried about raising our kids in LA, in the culture of Hollywood,” Clooney said. “I felt like they were never going to get a fair shake at life. France — they kind of don’t give a s*** about fame. I don’t want them to be walking around worried about paparazzi. I don’t want them being compared to somebody else’s famous kids.”
In another interview on his recent Jay Kelly press tour, Clooney mentioned that his wife and kids speak perfect French, joking that they use it to insult him to his face while he still struggles to learn the language.
This week, after a French official raised questions of fairness, France’s Foreign Ministry explained that the Clooneys were eligible under a law that permits citizenship for foreign nationals who contribute to the country’s international influence and cultural outreach, The Associated Press reports.
The French government specifically cited the actor’s clout as a global movie star and the lawyer’s work with academic institutions and international organizations in France.
“They maintain strong personal, professional and family ties with our country,” the ministry added, per the AP. “Like many French citizens, we are delighted to welcome Georges and Amal Clooney into the national community.”
They aren’t the only ones celebrating. President Trump, who has a history of trading barbs with Clooney, welcomed the news by taking another dig at the actor.

In a New Year’s Eve Truth Social post, Trump called the couple “two of the worst political prognosticators of all time” and slammed Clooney for throwing his support behind then-Vice President Kamala Harris during the 2024 election.
“Clooney got more publicity for politics than he did for his very few, and totally mediocre, movies,” wrote Trump, who himself has made cameos in several films over the years. “He wasn’t a movie star at all, he was just an average guy who complained, constantly, about common sense in politics. MAKE AMERICA GREAT AGAIN!”
Clooney responded the next day via a statement shared with outlets including Deadline and Variety.
“I totally agree with the current president,” Clooney said, before referencing the midterm elections later this year. “We have to make America great again. We’ll start in November.”
Clooney and Trump — once friendly — have long criticized each other
Clooney, a longtime activist and Democratic Party donor, has remained active in U.S. politics despite his overseas move.
In July 2024, he rocked the political establishment by publishing a New York Times op-ed urging then-President Joe Biden — for whom he had prominently fundraised just weeks prior — to drop his reelection bid to make way for another Democrat with better chances of taking the White House. A growing chorus of calls led to Biden’s withdrawal from the race by the end of that month.

In a December interview with NPR’s Fresh Air, Clooney said his decision to speak out on that and other issues generally comes down to “when I feel like no one else is gonna do it.”
“You’ll lose all of your clout if you fight every fight,” he added. “You have to pick the ones that you know well, that you’re well informed on, and that you have some say and you hope that that has at least some effect.”
Clooney has been a vocal critic of Trump throughout both of his terms, most recently on the topic of press freedoms during the actor’s Broadway portrayal of the late journalist Edward R. Murrow last spring.

And Trump has been similarly outspoken in his dislike of Clooney, including in an insult-laden Truth Social post — calling him a “fake movie actor” — after the publication of his New York Times op-ed.
In December, just days before this latest dust-up, Clooney shared in a Variety interview that he and Trump had been on good terms during the president’s reality television days. He said Trump used to call him often and once tried to help him get into a hospital to see a back surgeon.
“He’s a big goofball. Well, he was,” Clooney added. “That all changed.”
In the same Variety interview, Clooney — the son of longtime television anchor Nick Clooney — slammed CBS and ABC for abandoning their journalistic duty by paying to settle lawsuits with the Trump administration. He expressed concern about the current media landscape, particularly the direction of CBS News under its controversial new editor in chief, Bari Weiss.

Weiss responded by inviting Clooney to visit the CBS Broadcast Center to learn more about their work, in a written statement published in the New York Post on Tuesday. It began with “Bonjour, Mr. Clooney,” in a nod to the actor’s new milestone.
Clooney told NPR last month that he will continue to stand up for what he believes in, even if it means people who disagree with him decide not to see his movies.
“I don’t give up my right to freedom of speech because I have a Screen Actors Guild card,” he added. “The minute that I’m asked to just straight-up lie, then I’ve lost.”
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