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Yesterday, me and Mark Blackwell, who I work with, drove back to LA from up north in Sonoma where I was working with Pomplamoose. As I had raced through the last 48 hours to drive up there with a van full of props so we could shoot our “Shbaby” video, unloaded everything, danced and carried on like a lunatic for the video for much of the time, wrapped, re-wrapped and repaired  instruments I had made out of foamcore, many of which weren’t happy taking the trip, singing and finishing tracks for another song, “R U Thinking”,  finalizing our “Jungle Animal” video, racing back and forth to the hotel where someone who weighed at least 400 pounds was very fidgety in the room above me both nights… as all this was crammed into a less than 48 hour period I was drop dead T-I-R-E-D when it was time to head back yesterday morning.

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The plan was that Mark and I were going to take a very leisurely drive down a very peculiar route back down to LA so we could see all these kitsch attractions we had never seen before. But the morning started out with me discovering that my trustee MacBook Pro had finally died. Dead as in completely, totally, this-is-going-to-cost-you-a-lot-of-money DEAD. At least I still had my iPad but this too had been giving me trouble like refusing e-mails from certain of my e-mail accounts, not retaining saves after I took copious notes, and the dictation program working as if I was speaking in Chinese. I also had my two iPhones, both of which are very early versions of the phone, and if you even look at either one of them funny the batteries instantly drain. Now I am someone who is very technology dependent. I’m also a gadget freak. The only way you ever see me with one of anything is if the mate had recently died and I hadn’t had a chance to replace it yet. But here I was miles away from home with a heap of scrap metal technology with a blog to get out and a social network to attend to before we even packed the van.

After an hour delay, we were on the road, whipping through towns I’ve never heard of where the temperature was inching towards 110° in a van with malfunctioning maintenance messages flashing on the navigator every 20 minutes, not to mention I’d had very little sleep in the last 36 hours. Not necessarily the set up for Allee taking a nice, relaxing drive home. We decided to take highway 99 that intersects the 5, a fast but excessively dull drive that puts you in LA from San Francisco in five hours. The 99, on the contrary, takes a couple more hours as it swings way east. But it hits the 5 again down past Fresno so there didn’t appear to be much to lose. Other than we didn’t count on a fire breaking out on the Grapevine, a brutal section of the 5, when a big rig overturned and spilled  hundreds of thousands of carrots across all four lanes and somehow ignited a fire. Which then sent us on one of the wackiest and lonnnngest  detours I’ve ever taken, changing what could have been a six-hour trip into a 14 hour pilgrimage and putting us home at 2 AM.  Here we are passing one of the trillion or so tankers that reflected the 110° heat back to us as we made bandannas stuffed with ice cubes to stay cool:

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Thank God, before we realized we would be taking a trip of such epic proportions we passed this building off the 99 which at least fulfilled our dreams of seeing some kitschy sights. Unfortunately, there weren’t many of them but this is a bulldozer building that I would love to call my own.

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We finally pulled into a town called Atwater that looked like it might have some interesting possibilities after three consecutive motel signs led us to believe that perhaps the town was untouched by time.

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But it hit us almost immediately that time had, indeed, marched through Atwater and there was really nothing outstanding in the way of vintage or kitsch. I’m sure the Atwaterians see this as progress but we were bummed. Especially as this city has the longest traffic lights in history. I could have done with having more to see than a Marie Callendars on the main drag where we were for all most 15 minutes after two agonizing long lights and the longest train I’ve ever seen in my life.

A waiter at Marie’s told us how to cut over to the 101, something we realized we had to do it unless we wanted to sit in a steam room breathing in carrot scented smoke in a traffic jam of  legendary proportion that is a signature of that part of the 5 – there are signs at both ends of the Grapevine that recommend you turn your air conditioner off because the grade is so steep it kills cars. So we took the 152 to jump from the 99 to the 101.

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For a minute there it seemed like the beauty of the 152, passing through towns and circling a huge reservoir, was worth adding a couple of hours onto our trip. But when the 152 finally dumped us back onto the 101 it was an hour plus above Monterey, as if we’d driven in the shape of someone who was smiling hard and ended up wayyyyy north, six or seven hours still to go to make it to LA and we had already been in the car for six hours. A straight route down the 101 and 5 from Sonoma would have had me home an hour ago.

But there was one thing and one thing only that put my head in a better space. A few hours down the 101 was The Madonna Inn, a masterpiece of  kitsch. No, that’s not saying enough, the Sistine Chapel of  Kitsch, nestled right next to the 101 in San Luis Obispo.  If we drove fast enough, the dining room would still be open and sitting in the midst of this I don’t care if they served me a tin can I would be happy. We were very happy indeed sitting in the Madonna pink deliciousness and all that accompanied it.

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And after eating this classically American meal…

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… I got to take my hopefully last bathroom break here before I arrived home in hopefully 3-4 hours:

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Now mind you, I’ve just shown you the main dining room. There’s still the coffee shop, spa and gift shop that features items like this bedazzeled peace t-shirt…

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And then there’s the 100 uniquely themed rooms, no two alike, with names like California Poppy,  Canary Cottage, Edelweiss,  Jungle Rock,  Imperial Family, Pick & Shovel and about 100 more in the hotel itself.

I would like to thank The Madonna Inn for coming to the aid of two road weary travelers after a couple intense days of incredibly great music and one day of the most circuitous trip I’ve ever taken. I would have wished for there to be more to see along the carrot/diesel-fumed detour we were forced to take but all in all it was an incredible three days. So also, thank you, Pomplamoose…

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… and thank you, Mark, for driving every inch of the entire trip…

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… and, once again, thank you, Madonna Inn, for adding a bit of sparkle to an otherwise exceedingly lonnnnnnnnnnnnnnnnng, hotttttt day.

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Every morning I wake up to a pile of notes that I’ve dropped on the floor from my bed the night before as I don’t like to keep anything in my head so I have a running chance of falling asleep. My M.O. is to scribble things down as soon as I think of them anyway so no brain space is occupied with to do lists or thoughts of any kind and creative ideas have ultimate room to race around and breed.

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In general, I’m better at tackling things in the morning than letting them make mush of whatever brain cells are left by midnight but I will remember nothing unless it’s immortalized in solid print somewhere. This method works fine for me but it’s a horrifying sight every morning to see the river of notes that await me and threaten to overtake my day. So they all end up under this handy little 1950’s transparent plastic “Don’t Forget” hand that psychologically improves my mood just looking at it holding the tasks in place that lie before me.

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Of course, within days the girth of the pile is enough to tip “Don’t Forget” over but I love the feel of the lightweight hand made in Hong Kong and never mind picking it up and rifling through the first couple of notes to see if there’s anything I can stand doing at the moment, thereby whacking away at the pile.

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But most of the time I just spend looking at the delicate hand and ever-growing pile it’s meant to serve and protect. Everything eventually ends up getting done and I enjoy crumpling up the tasks and throwing them into the shredder so that they may eventually return to their natural pristine paper state and I can start scribbling on them all over again so my third hand has something to do.

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In anticipation of the Memorial Day holiday tomorrow and the many glasses that are about to be lifted these Party Jocs drink cozies make it easy to keep track of your drink and keep your hands moisture free as you chug it down.

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Wednesday night I went to my favorite restaurant, Street, in anticipation of lifting a glass in celebration as Chef Susan Feniger won another round of Top Chef Masters on TV.  Not  only was she one of the final four but she had won 75% of her battles so far.

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I went with my good friend, Stu James, who was also Harpo in my musical, The Color Purple. Although I didn’t have the Party Jocs with me and no glasses are evident in this photo we took with Susan we were all in a glass-lifting celebratory mood as the show began.

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What’s great about being at Street on the nights that Top Chef Masters airs is that not only can you order any of the completely and insanely inventive food on the menu but also little trays of whatever Susan cooks on the show that night are passed around. We started out with Lamb Kakta Meatballs drizzled with date and carob molasses…

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… followed by the Tatsutage Fried Chicken marinated with soy, mirin and sake and crispy fried in rice batter, topped with spicy kewpie mayonnaise sauce.

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Then came the Burmese Lettuce Wraps with gin thoke style lentils, toasted coconut, peanuts, fried onions and sesame ginger dressing…

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.. and the Paani Puri, spiced potato, chutneys and sprouted beans in crispy puffs of yogurt-cilantro water dipped dough…

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… with the Brazilian Acaraje not far behind – black-eyed pea fritters with palm oil, garlic and cilantro stuffed with citrus cabbage slaw and malagueta chile sauce.

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Then we topped it off with barbecued pork sliders:

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Obviously Stu and I spent as much time taking photos of each other eating as we did talking, all the while watching Susan toil away on TV.  The chefs’ challenge this week was to make food “fit for the gods of the heavens”.

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Susan was assigned Aphrodite, goddess of love.  She went for it with one of the signature dishes at Street, Kaya Toast.

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Kaya Toast  is a Singapore street cart experience – toasted bread spread thick with coconut jam and sweet butter that you dip in a soft fried egg drizzled in dark soy and white pepper.  When you bite into it it fills your mouth with such an unexpected burst and multi-textural slide down the throat that your whole body jolts with the sensation. I can always tell when someone orders Kaya for the first time because there’s always a long drawn out ‘oohHHhhhh’ that accompanies it. That’s love. And it’s certainly fit for Aphrodite.

As individual servings of Kaya Toast were passed around to all of us in the restaurant Susan raced to finish the dish on the show.

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As the judging began, the whole restaurant got ready to lift their glasses to celebrate yet another triumph. At that moment I wished I had brought the Party Jocs with me so Stu and I could have toasted in style not to mention hand comfort.

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But the only thing about the Kaya Toast is that it looks like a very simple dish. Everyone always thinks it’s going to taste like a grilled cheese sandwich.

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And that’s what judge Jay Rayner couldn’t get out of his head, that it looked like a PB&J and he didn’t find that very sexy.  So Susan went down in flames…

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But I’m here to tell you that it took balls to make a dish like that, on first impression so plain and simple but upon tasting it a cornucopia of textures, tastes and sensations.  So come to Street if you want to taste food fit for the gods. And to Jay Rayner and the remaining three male chefs I lift my glass, now adorned with its comely 1960’s fashion statement, and wish them all very happy highballs as they cook to the finish.

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Margaret Keane is the High Priestess of Pop Art, painting those huge waif eyed paintings that stared out at everyone throughout the 60’s and 70’s and are still copied and emulated to this day.

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Last Thursday night I got to see not only so many of the original historic paintings but new works by Keane as well who hasn’t lost a gnat’s hair of technique.

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This happened inside one of the greatest places in LA, the Phyllis Morris Showroom. Although Phyllis herself, creator of the original poodle lamp and unquestionably one of the greatest designers who ever lived at the high and artful end of Kitsch, isn’t still with us her creations very much are. Being in the actual presence of Keane and surrounded by both women’s work which not only dominated the eras they came from but still impact Pop Culture today was about as uplifting and exciting an art moment as this Pop artist could have. (I guess I’d have to throw in the time I walked past LA Eyeworks and through the window saw Andy Warhol staring at a motorized piece of art of mine for over five minutes. Him calling me a genius when I walked in was a watershed moment.)

There’s a movie in the works about Margaret Keane with Kate Hudson signed on to play Margaret. Her story is fantastic. Her husband, Walter, was a crafty businessmen and convinced his wife to basically paint and shut up. It was his name that was on all of her paintings and it was he who made multiple appearances on Johnny Carson, did all the interviews and got all the glory. Margaret is still very soft-spoken but came to her senses in an infamous 1965 court case during their divorce when she rightfully and finally claimed that the paintings that made Keane a household word were actually hers. When her husband called her a liar the judge set two easels up and asked them both to paint. Margaret got up and knocked out one of her famous big sad eyed paintings while Walter complained of a sore shoulder and sat there like a lump. Feminism was at its height and Margaret instantly became an Olympian sized champ.

I only own some Keane prints from back in the day. I would have loved to have bought one of her paintings last Thursday but as opposed to the few dollars they cost in the 60’s they now average between $75,000 and $225,000.

As far as Phyllis goes, I hope to go back to the showroom to shoot a video with Jamie Adler, Phyllis’ daughter who runs it now and is a fantastic designer in her own right.  Her mom set the bar for merging Art and Kitsch, magnificently over-the-top Baroque creations that remained totally tasteful and full of importance and humor.  Throughout the four decades she was designing, Phyllis’ oversized beds, chairs, wall units and accessories filled the homes of folks unafraid to embrace their own uniqueness and style like Liberace and Elvis Presley. Here’s Phyllis and her dyed pink poodles in 1953 with some of the first poodle lamps that rolled off the assembly line:

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Now back to the showroom Thursday night:

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Thank you, Margaret and Phyllis, for the never-ending inspiration, talent and fun!

Main Photo: Katy Winn

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Last night was the closing of The First National Tour of my musical, The Color Purple.  I had never written a musical before, hardly ever went to see them.  I’m an all-the-way Pop Culture gal and for me this was a medium from ancient times with way too histrionic sounding songs and singers frozen in time.  I was the least likely person in the world to write a musical but write one I did, with Brenda Russell, Stephen Bray and Marsha Norman. We were nominated for 11 Tony’s.  How we even won one, the brilliant LaChanze for Best Actress, was a miracle in the climate on Broadway. (Don’t get me started on that one…). Beyond being eternally proud of the work, especially the uplifting and joyous effect it had on audiences night after night, the most stunning part of the journey was the family of friends I made through the Broadway run and the ensuing national tour.  Right from the beginning when we started writing Purple in 2001 I always heard that  there’s constant bickering among everyone but we were all really friends.  And I mean everyone, from Alice Walker, the Pulitzer prize winning author of the novel, down through us authors, the cast, director, producers, hair, makeup, wigs, production managers, everyone.  I was always being told by other friends who had written for Broadway that by the end no one would ever talk to each other and that so many writers of so many shows, because the experience takes years and is so intense, never end up  speaking unless they write another show and then it’s just about work. Our case always was and remains different. This is a family that will be together forever, bound by an experience where the piece itself was bigger than any one part. Everyone felt chosen and blessed to be a part of The Color Purple. Fantasia WAS Celie.  Watching that journey of her finding herself through this character was a joy and a privilege. Every cast member, starting with the staggering Felicia P. Fields, Tony nominated for Sofia and the first actor we ever cast in 2003, was not only a triple threat – brilliant singers, actors AND dancers, a rare enough find in one person let alone an entire cast – they were a gift for any artist to have interpret their work.

One of the key lines of the show is when Shug Avery says to Celie, “I think it piss God off if anyone walk past the color purple in a field and not notice it. He say look what I made for you!”   Life is all around us. The blessed ones among us understand that the real gift is fantastic friends, a glorious sky over our heads, birds singin and the fact that we’re here at all. I thank every single person in this photo for a fantastic five years. I look forward to more in another space and time. We all know we’re together always.

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With Gary Griffin, our director, Fantasia and the Celie doll with cornrows and real wardrobe that Hair and Makeup made me after my Sound Of Soul party last week.

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With my co-composers and lyricists, Stephen Bray, Brenda Russell, and Wayne Linsey, who played keyboards on all our original demos for The Color Purple.

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Mr. Wah Wah,  the prized work of Bubbles the artist, has become the symbol of the Sound Of Soul fundraiser I throw every year in conjunction with Pacifica Radio Archives. This year it’s tomorrow and I’m going nuts trying to get ready for 300 people storming my house to eat outrageous soul food from Mom’s Barbecue House, peruse my collection of Pop Soul artifacts that the Godfather himself, James Brown, encouraged me to  turn into a museum when he first saw it in the 1980s, and to celebrate the end  of the first national tour of The Color Purple.  (Second national tour begins in two weeks  with a brand-new production and cast.)

As anyone  knows who’s ever been to a party over here, I treat the whole place like it’s a big set and hand make signs, displays,  games, prizes, the works.   As if that’s not enough work, with all the rain that’s been dousing LA I need a Plan A party, the real deal, and a Plan B party,  the striped down version that happens if it rains and I’m forced to squeeze everyone inside, a physical impossibility that demands extraordinary hive-inducing, Valium-popping-if-I-were-the-type measures.  So I’m a  paint covered, music making busy little beaver today, half in a good mood and half having spilkes because I know powers greater than I are at work to collaborate on the evening.   But with all the hostess concerns that I have Mr. Wah Wah  is still looking good and ready to party!

How-To--Dominican-BlowoutDoobieAs most of you know by now, I’m one of the few songwriters who loves when their songs are used or performed inappropriately as it turns the songs into masterpieces of Kitsch. I never set out to write Kitsch as I love music too much but if I leave it in the hands of all the people who love to see themselves on YouTube I’m rarely disappointed.

As opposed to a performance, this is someone who’s chosen to verrrry sloooowwwwly show us how to achieve a Dominican hairdo using two Earth Wind & Fire songs as background music, “After The Love Is Gone” and “Boogie Wonderland”, the latter of which I co-wrote and the significance of neither in regards to the the subject matter make any sense.

With pixelated effects that happen in the first few seconds of the video and never occur again in the 9 minutes and 13 torturous seconds it takes to get the damn rollers out and hair wrapped, this is a directorial masterpiece in the filmic language of Kitsch. Among other highlights is that absolutely nothing happens in rhythm to the music, the “wind machine” only functions in one “scene” and the label on a jar of product appears backwards so you can’t possibly see what it is even if you wanted to achieve this look. Also excellent is the fact that ‘doobie’ doesn’t mean what we think it does and is apparently some kind of barrette or bobby pin.

I got excited when it was apparent that the final hairdo was going to look like a Fez. At this point, over 7 minutes in, “Boogie Wonderland” is in full throttle instrumental. That hair should have been whipping around to the strings and horns, combs and doobies flying. But alas, the Fez just gets pulled tighter and tighter, smoother and smoother, totally defying the intention of the music. And why would something be called ‘blowout’ that’s actually deflated and increases in value the flatter it gets?

Even I had trouble making it through to the final strand but from a Kitsch perspective this is a Top 10 hit!

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Today’s post should have been the big ol’ blowout post of ’em all detailing the spectacular party last night celebrating the Grand Opening of the Allee Willis Museum Of Kitsch at awmok.com and the physical display at Ghettogloss. If my only problem was that after months of no sleep because of the enormous amount of prep all this demanded I feel like I’m inhabiting the body of a 90-year-old I could deal with it. But here’s what my wake-up hours have been consumed with so far: A) I won’t have party photos taken by the pro photog until Thursday. I thought no big deal as I had someone following me around snapping photos of significant moments anyway. But upon dumping them into my computer 30 seconds ago I see that most of these are almost pitch black because the camera was on the wrong setting. So, no party photos until late Thurs. And re video, there’s 15 hours of footage from three cameras. Perhaps by the time I actually am 90 this will be edited. But for now I must live with the fact I have no physical proof of the frivolity and mayhem that ensued for a medium that demands immediacy. 

I could deal with the reality of this were it not for the torture YouTube has heaping upon me for the last 12 hours. The centerpiece of this Grand Opening week was to be the “What Is Kitsch” YouTube film festival, one new short film I made on the subject released every day through next Monday when the second party occurs. However, unbeknownst to the unsuspecting patrons of YouTube, the interface had a hysterectomy last night, the side effects of which continue, preventing anything from being uploaded. Although something seems to have changed in the last five minutes and today’s film finally uploaded it still doesn’t appear that you can leave comments, rate or favorite anything. Not good news for someone whose entire promo strategy depends on the cumulative effect of these films. Is now the time to pop the Valiums?

On top of this, today is a massive day of press which means me, my house and studio need to be spotless for photos. Not an easy feat after all the party prep that happened here and all the boxes that had to come home and be stored here before the next party on Monday. Also, the aforementioned 90-year-old body I am inhabiting today isn’t much for housework.

I also need to attend to my duties in the Kitschenette at awmok.com as many submissions have started to come in. I’m beyond excited at the prospect of seeing so many people’s Kitsch and moderating the conversations that start up around all of it. It’s the beginning of the party I’ve always wanted to throw online. I just wish I had another 24 hours before today starts. 

It’s going to be a most interesting day and the kitschiest thing about it is going to be me. 

Today’s post should have been the big ol’ blowout post of ’em all detailing the spectacular party last night celebrating the Grand Opening of the Allee Willis Museum Of Kitsch at awmok.com and the physical display at Ghettogloss. If my only problem was that after months of no sleep because of the enormous amount of prep all this demanded I feel like I’m inhabiting the body of a 90-year-old I could deal with it. But here’s what my wake-up hours have been consumed with so far: A) I won’t have party photos taken by the pro photog until Thursday. I thought no big deal as I had someone following me around snapping photos of significant moments anyway. But upon dumping them into my computer 30 seconds ago I see that most of these are almost pitch black because the camera was on the wrong setting. So, no party photos until late Thurs. And re video, there’s 15 hours of footage from three cameras. Perhaps by the time I actually am 90 this will be edited. So I must live with no physical proof of the frivolity and mayhem that ensued for a medium that demands immediacy. 
I could deal with the reality of this were it not for the torture YouTube his heaping upon me for the last 12 hours. The centerpiece of this Grand Opening week was to be the “What Is Kitsch” YouTube film festival, one new short film I made on the subject released every day through next Monday when the second party occurs. However, unbeknownst to the unsuspecting patrons of YouTube, the interface had a hysterectomy last night, the side effects of which continue, preventing anything from being uploaded. Although something seems to have changed in the last five minutes and today’s film finally uploaded it still doesn’t appear that you can leave comments, rate or favorite anything. Not good news for someone whose entire promo strategy depends on the cumulative effect of these films. Is now the time to pop the Valiums?
On top of this, today is a massive day of press which means me, my house and studio need to be spotless for photos. Not an easy feat after all the party prep that happened here and all the boxes that had to come home and be stored here before the next party on Monday. Also, the aforementioned 90-year-old body I am inhabiting today those much better at its normal age. 
I also need to attend to my duties in the Kitschenette at awmok.com as many submissions have started to come in. I’m beyond excited at the prospect of seeing so many people’s Kitsch and moderating the conversations that start up around all of it. It’s the beginning of the party I’ve always wanted to throw online. I just wish I had another 24 hours before today starts. 
It’s going to be a most interesting day and the kitschiest thing about it is going to be me. 

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I had always thought that the day before the Grand opening of the virtual Allee Willis Museum of Kitsch I would have one of the most spectacular pieces of kKitsch in my collection to feature on Kitsch O’ The Day. But I’m going completely insane on massive overload trying to get the online interface/mini social network at awmok.com scotch-taped together enough to open tomorrow – sometime between noon and 5 PM West Coast time – not to mention building physical displays, handmaking souvenirs and getting auction items ready for the first of two grand opening parties tomorrow night at Ghettogloss on Melrose. 
I have no hands left, my brain has been reduced to the size of a pea and the thought of photographing one more piece of my Kitsch and writing a description is enough to throw me into a deep coma after mounting an exhibition of every object featured in Kitsch O’ The Day since I began the blog in early March, building customized bubble display cases for everything, tweaking the descriptions, filling four foot wide bowls almost big enough to take baths in with junk food, and doing the 175 other things on my list for what I’m sure will be another 20 hour day of tweaks. So no Beatles sneakers, bedazzled Snuggies or motorized go-go boots that move on their own to “These Boots Were Made For Walking” today and, instead, an amazing 4′ x 4′ three-dimensional-made-from-all-my-junk “Allee Is Kitsch” portrait of me done by my very talented friend, Jason Mecier. The portrait is featured at the opening parties along with the other 150 aforementioned Kitschifyingly spectacular objects.
If you haven’t seen the trailer yet or don’t know much about The Allee Willis Museum of Kitsch please proceed to awmok.com. Otherwise, see ya tomorrow!
http://www.usatoday.com/travel/destinations/2009-09-10-kitsch-museum_N.htm
http://www.examiner.com/x-8310-Trendy-Living-Examiner~y2009m9d7-Allee-Willis-Museum-of-Kitsch-opening
http://flavorpill.com/losangeles/events/2009/9/14/allee-willis-museum-of-kitsch
http://eccentricroadside.blogspot.com/2009/09/whole-kitsch-and-caboodle-allee-willis.html
http://bitchmagazine.org/post/bitch-popaganda-superwomen-or-lack-thereof-edition

I had always thought that the day before the Grand opening of the virtual Allee Willis Museum of Kitsch I would have one of the most spectacular pieces of Kitsch in my collection to feature on Kitsch O’ The Day. But I’m going completely insane on massive overload trying to get the online interface/mini social network at awmok.com scotch-taped together enough to open tomorrow – sometime between noon and 5 PM West Coast time – not to mention building physical displays, handmaking souvenirs and getting auction items ready for the first of two grand opening parties tomorrow night at Ghettogloss on Melrose. 

I have no hands left, my brain has been reduced to the size of a pea and the thought of photographing one more piece of my Kitsch and writing a description is enough to throw me into a deep coma after mounting an exhibition of every object featured in Kitsch O’ The Day since I began the blog in early March, building customized bubble display cases for everything, tweaking the descriptions, filling four foot wide bowls almost big enough to take baths in with junk food, and doing the 175 other things on my list for what I’m sure will be another 20 hour day of tweaks. So no Beatles sneakers, bedazzled Snuggies or motorized go-go boots that move on their own to “These Boots Were Made For Walking” today and, instead, an amazing 4′ x 4′ three-dimensional-made-from-all-my-junk “Allee Is Kitsch” portrait of me done by my very talented friend, Jason Mecier. The portrait is featured at the opening parties along with the other 150 aforementioned Kitschifyingly spectacular objects.

If you haven’t seen the trailer yet or don’t know much about The Allee Willis Museum of Kitsch please proceed to awmok.com. Otherwise, see ya there tomorrow!

http://www.usatoday.com/travel/destinations/2009-09-10-kitsch-museum_N.htm

http://www.examiner.com/x-8310-Trendy-Living-Examiner~y2009m9d7-Allee-Willis-Museum-of-Kitsch-opening

http://flavorpill.com/losangeles/events/2009/9/14/allee-willis-museum-of-kitsch

http://eccentricroadside.blogspot.com/2009/09/whole-kitsch-and-caboodle-allee-willis.html

http://bitchmagazine.org/post/bitch-popaganda-superwomen-or-lack-thereof-edition

Spirograph-box

This is the real deal, vintage 1967 original Spirograph by Kenner No. 401. Although the resulting art was too precise and anal looking for me – zillions of geometric combinations looking like they’re made from little spiders’ legs – I recognize the Spirograph as an icon in Pop Culture. Just like those string art paintings of owls, ships and such that I passionately collect but never felt drawn to create.

Made by locking gears and rotating plastic wheels inside other plastic wheels and tracing with a pen as they move, the rules of this are too rigid for me. Hell, I can’t even paint inside the lines so something demanding precision and this much repetition definitely falls outside my scope. I was always the free form type. But I love that Spirographs make non-artists feel like artists, proud enough to hang their creations on their walls and refrigerators. I’ve always looked at art – any form of it – as something social and a crash course in self expression. So if a series of little curves, technically known as hypotrochoids and epitrochoids, turn most people on who am I to argue?

Spirograph-tools_9742 Spirograph_9740 Spirograph_9745 Spirograph_9746

1960’s Spirograph commercial:

Spirograph-commercial-1960's

1970’s Spiromania commercial:

Spirograph-commercial-1970's
This is the real deal, vintage 1967 original Spirograph by Kenner No. 401. Although the resulting art was too precise and anal looking for me – zillions of geometric combinations looking like they’re made from little spiders’ legs – I recognize the Spirograph as an icon in Pop Culture. Just like those string art paintings – owls, ships and such – that I passionately collect but never felt drawn to create.
Created by locking gears and rotating plastic wheels inside other plastic wheels and tracing with a pen as they move, the rules of this are too rigid for me. Hell, I can’t even paint within the lines so something demanding precision and this much repetition definitely falls outside my scope. I was always the free form. But I love that Spirographs make non-artists feel like artists, proud enough to hang their creations on their walls and refrigerators. I’ve always looked at art – any form of it – as something social and a crash course in self expression. So if a series of little curves, technically known as hypotrochoids and epitrochoids, turn most people on who am I to argue?