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I’ve never been on a cruise.  I’ve gone sailing twice. I’ve been in a motor boat maybe 10 times. But make no mistake about it, I love boats. I love the sound of the water lapping up against them when you’re in them, I love what they look like. I’ve always wanted to go on a cruise – between the buffets, lounge acts and seafaring decor what’s not to love? But for now, I content myself with ship artifacts like this 1940’s plastic salt ‘n pepper shaker.

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I have a lot of help around my house creating a perfect atmosphere for the ship salt and pepper shakers as it abounds with portholes. These particular ones came off a 1952 Chris-Craft boat.

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I turned this porthole into a laundry chute.

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When I had to spend tons of time in New York between 2002 and 2007 during the writing and production of my musical, The Color Purple, I insisted on staying at the Maritime Hotel. This is one of the most gorgeous buildings in the world as far as I’m concerned. Built in 1969 as the National Maritime Union, it’s 12 stories of pristine one inch white mosaic tiles with a four foot metal rimmed ship’s porthole in every room, of which there are are twelve on each floor.

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The rooms are decorated like a ship’s cabin – dark wood, curves including the ceiling and laid out meticulously other than  the contortions one must get into to operate the TV remote from bed. The lobby has  stone reliefs of maritime activites and the floor echos the giant portholes in the rooms. But I’m not here to give a hotel tour and I’m not in New York and God knows if I’ll ever get my ass on a cruise. But when I look at this little seafaring salt and pepper shaker, its gorgeous red and white perfect 1940’s plastic self, it chills out my brain as if it were riding the waves instead of racing to post this blog.

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For all of you wielding BBQ tools this Labor Day there is now a fashionable addition to your tool universe, the BBQ Sword! I love stuff like this. Kitsch to be sure but also incredibly practical as the stainless steel hand guard protects your precious digits from the flames and spitting fat.

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Made from heavy gauge stainless steel, the BBQ Sword is perfect for grilling in safety and style. It even comes with a Musketeer Mask. I was never into swashbuckling stories or pirates (though I did take fencing in camp one summer) so I’m not really up on the importance of the need of the swashbuckling barbecue-e’s identity to remain secret, but as they’re throwing the mask in for free I’m willing to explore it.

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Besides, I’ve never been the person to take on the grilling of the meal. I’m the one choosing the perfect BBQ from among on my collection of vintage ones, a couple of my favorites pictured here:

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I’m also the one choosing the perfect dishes and serving pieces:

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Though I suppose that my possession of the BBQ Sword might induce me to take on the task of cooking the dogs one day.

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The sword, made by Slam Hebe, takes itself very seriously:

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And I take my hamburgers and hotdogs very seriously:

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I’m actually out the door on my way to a friend’s house who reliably takes on such cooking tasks on the holidays. I would bring him this BBQ Sword but I only bought one and have grown too attached to it while writing this post to give it up now. Perhaps I’ll wear the mask so the identity of the guest who walks in empty-handed is not revealed. But I’ll make up for it with my sparkling swashbuckling personality.

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Not only is this an excellent salad/party condiments serving piece but it serves just as well as a conversation piece as its composition is a complete mystery. I haven’t been able to come to a 100% consensus on whether it’s made of plastic or glass since I bought it for a hefty $9 at a thrift shop a few weeks ago. It sits out on my dining room table and it’s become almost a ritual for guests to tap their fingers against it and register a vote.  It looks like glass and it sounds like glass and it certainly is as heavy as glass but every now and then a tap will deliver a dull thud, the signature sound of plastic. Actually, most votes are that it’s a bizarre combination of glass and plastic, one or the other covering the other one so you have the beauty of glass but practicality of plastic. I know this makes no sense but this appears to be the way of the world.

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I think the only way to know for sure is to drop it, a fate I hope does not befall this beautiful bowl. Did I mention that it’s quite chunky? 16″ across and 10″ high.

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When I went to measure it just now it clanked against the top of the metal shelf I pulled it out from. It sounded like glass and I was expecting it to shatter but it came out chip free and once again sounded like hollow plastic when I tapped it again.

The marks on the bottom of the bowl tell me nothing. Though that smudge looks pretty plasticy but then again, the base could be plastic and the rest of it glass.

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I’m just happy to own this pretty bowl. I don’t intend to eat it or use it for anything other than what it was intended for –  to be beautiful and make whatever is inside of it look even lovelier. And as a Kitsch lover I can make a case for whatever material it’s made of and love it just the same.

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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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When the first four Holiday Inns were built in 1953, this was the ashtray that was sitting in the rooms. Heavy glass with raised lettering and cigarette rests, the shape is perfect 1950’s, the font iconic. I don’t go out of my way to collect Holiday Inn artifacts, but through the years I’ve amassed cups, matches, ashtrays from all the decades, postcards, playing cards, ice tea spoons, room keys and more.  I even have this sign from a Holiday Inn somewhere in California. It’s rusty but you would be too if you baked outside for the last 60 years.

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I’ve always loved the concept of Holiday Inns, the first roadside chain motel founded on the concept that if you knew what you were getting you would feel as comfortable as if you were home. The rooms were all basically the same – clean,  family-friendly and  really easy to get to because signs like this were in clear view of the highways. And in the 1950’s everyone was on the road.  The war was over, the cars were massive and beautiful, and the American middle class mindset was such that they thought they might soon be vacationing on the moon. I didn’t own this Studebaker until the 1980’s but the parking lots of Holiday Inns were all stuffed full of eye-popping gems like this so that as soon as you turned into them you were psychologically prepped to enjoy your stay.

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This was taken in the parking lot of a Holiday Inn in 1986. I got a room one day to write because I couldn’t concentrate at home.

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I never smoked in my car so it remained as pristine and lovely as one of the rooms in a Holiday Inn. If I had smoked though, I might have lifted this from my room so my ash was deposited in something as stylish as my car.

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But, alas, I bought it on eBay along with this postcard, longing for the days when life was this beautiful, convenient, stylish and cheap.

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In a couple of hours I’m speaking on a panel called “In The Biz In LA – For artists who act, direct, produce, edit, write, or administrate” led by my pal Barbara Deutsch, who I’ve been friends with since we were both secretaries at Columbia and Epic Records in 1969. Here’s what I was told to prepare: “If you were to only give the audience 3 pieces of advice that you have learned personally for the industry or life, what would it be? Feel free to be profound or silly.” There are many big deal  tv and film directors and producers, casting directors, managers and agents on the panel. Everyone’s got big fat credits. When I’m on panels like this I find a lot of people giving very practical information.  Despite the fact that I too have those big fat credits much of my career has been on the outskirts of the entertainment behemoths, self funded to insure maximum creative freedom so I could do what was in my head, usually a combo of “profound and silly”, and not spit out works by committee and become a depressed albeit wealthy artist. I’ve always had a lust to combine “hi” and “lo” aspects of art within the same work and this doesn’t usually fly when creating by committee.

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When I first started out it was absolutely taboo to be a multi-media artist if you were a behind the scenes creator. Anything outside of songwriting that I did like art, furniture design, set design, early social network design in 1992, really anything that didn’t involve solely music and lyrics, was viewed as a little hobby by the industries I did them in. It took into the new millennium for industry folks to see that the new and most vital kind of artist was, in fact, a multi-media artist who could combine all traditional art forms into one big ball of expression and execute in both traditional linear mediums as well as in all existing digital ones, hopefully integrating them as opposed to slapping assets from the traditional ones onto the new virtual medium, the Internet, as if it were a giant billboard.

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I don’t expect to stand out like a sore thumb on this panel the way I used to on traditional showbiz panels. (BTW, the sore thumb is a great thing to be on panels as audiences are most appreciative for alternatives points of view.)  My thing has always been to screw the rules if the rulemakers aren’t going for what you do and then do what you need to do by any means necessary. But now that it’s  overwhelmingly accepted that we’re living in revolutionary/evolutionary times I expect everyone on the panel to come through with some version of this same message.  Though I certainly don’t expect anyone else on the panel to own a napkin holder as lovely and  inspirational as this one before you now.

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Though It looks like it’s made of cheap plastic, the message is actually stamped in metal and mounted on a heavy marble base. It’s that perfect combination of “hi” and “lo” art that I love.

A few minutes ago I emailed Barbara Deutsch to see if I could bring a guest to the panel. She immediately wrote back and said yes but informed me that the panel was, in fact, yesterday… I obviously didn’t “Do it now” yesterday.  That would have been a very “lo” part of this experience but, as luck would have it, there’s another panel today. I have absolutely no idea if the topic is the same but my ‘Do it now, do it good and by any means necessary’ message sure is.  And by all means, show up when you’re supposed to as opposed to polishing your napkin holder so it looks pretty in photos. You’re bound to get farther in the world.

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Bowling is easily the sport that has rained down hardest on Pop Culture in terms of artifacts emulating its shape, spirit and efforts to capitalize on the good clean brand of social interaction the sport promotes. Though I go a little farther than the normal person in terms of their love of the sport. I should clarify that it’s not actually the sport itself I love so much as the accouterments associated with it. You name it and there’s some bowling derived interpretation of it. I have bowling can openers, decanters, tables, lamps, brushes, floors, shirts, shoes, dishes, cups, glasses, trophies and then some.  Sometimes I even turn the trophies into door handles.

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I’m sipping decaf from a bowling ball cup right now.

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I clean my clothes with a bowling pin brush.

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I work by the light of this bowling pin lamp.

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Sometimes the lamp sits on one of four bowling tables I got from the famous Hollywood Star Lanes when they closed their doors in Hollywood in the late 90s. I use them as desks.

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I have bowling balls planted in my garden.

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I even have a bowling ball carved into my kitchen floor.

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Yesterday I extracted coins from my bowling ball coin purse and bought these bowling shoes.

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When I got home I popped open a bottle of Bubble Up.  I had a choice of two bowling pin bottle openers.

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Alas, my bowling bag coin purse is not going to be opened for any more bowling memorabilia for a while.  As I’m a totally self-financed artist, my pennies need to be pinched for all the projects I’m working on. That would be depressing but when it all comes down to it my favorite place to be anyway is home. If I’m bored I can always go bowling in the sand.

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Because of their perfect shape and glowing color the orange has captured the imagination of designers since the beginning of time. In this case, the glowing hive is cut into four perfect  horizontal slices making for four different measuring cups, each daintily festooned with a little leaf handle. One would think because of the precision round shape of an orange that this dividing up into four sections should happen with no mishaps. But to this kitsch lover’s heart’s delight two different size slices are labeled 1/3 cup.

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This shouldn’t affect any mis-measurement here at Willis Wonderland as cooking is not among my many skills. Instead, I use this as a candy and nut dish, four levels for four different snacks.

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I’ve never been the type to naturally gravitate toward fruits and vegetables though oranges are the one healthy snack I can eat without being force-fed, even if they’re not ceramic.

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I still like the kitschen accessory orange the best.

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In 1973 when the Ronco Miracle Broom sprung on the market half of the households in America started vacuuming their shag with this revolutionary cordless electric vacuum cleaner.  That’s reason enough to collect it now but with products like this, especially those made in the 70’s and especially in the genre of products sold on TV – the Miracle Broom was among the first of hard-sell filmed TV commercials hawking new and unique products birthing what would later be known as the infomercial – oftentimes the box was as good as the product that came in it. Not to say that this Streamlined Moderne-meets-70’s-modern looking gadget isn’t great in and of itself but the graphics showing suggested uses of the product are even better. Blown out color, cheesy furniture and excellence in hand modeling being some of the pillars of that greatness. Here’s one of my favorite shots:

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The crumbs are SO over-exaggerated. I’d like to know who eats toast leaving crumbs this big and in this formation? Only a chipmunk or someone without teeth was capable of creating this mess.

For this shot Ronco spared no expense on the tablecloth. Then again, they wanted you to concentrate on the crumbs. Seems to me they should’ve called the toothless person back to create better crumbs though as these don’t seem that serious.

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I love how the ashtray is overturned in this next one. Even more, I love the pattern on the tie of the man wielding the Miracle Broom. Even more, I love that Ronco was evolved enough to have men doing some of the cleaning.

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I can’t figure out what spilled on the following car seat. It’s somewhere between Red Hots, vomit or that crumbled fauna stuff you buy at craft stores to make little trees out of.

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The Ronco Miracle Broom was the stuff of legend in the 1970’s, a massive lunge forward in the revolution of products designed with style, convenience and innovation in mind that began in the post-World War II Atomic Age. I may have shed the shag carpeting over the years but the double D’s are always on hand to pop into my Miracle Broom whenever I’m too lazy to completely chew my toast.

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Designed by William Wiggins for Shepherd Products of Toronto in 1970, this aluminum ball shaped barbecue which featured a double stack of cooking racks and a rollover cover was about as modern as you could get back in the day. The hottest of the colors it came in was a gorgeous shade of red orange which this one originally was when I rescued it for 99 cents from a Salvation Army. Here it is in brand new, pristine shape:

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But through the years of chicken juice and hot dog grease all that was left of its color by the time I found it were a few flakes that peeled off if you even breathed on it. I hate when vintage things are restored to look “brand-new”, translation: too cheesy for a purist  to even look at, so I couldn’t consider that. But the opportunity for cosmetic surgery presented itself when I art directed  a Debbie Harry video over here in 1987 and covered the B-B-Q with a coat of chrome spray paint to use as a prop. Which made it look gorgeous but even more dangerous to eat anything that was cooked in it. So through the years it’s served a variety of other functions, mostly at parties.  Sometimes I use it as a candy dish…

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A lot of times it’s used as a name tag container as I hate to be responsible for introducing everyone myself…

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At a party over here a couple of years ago when the musical I co-wrote, The Color Purple, came to LA, Adam Wade, who played Ol’ Mister, dipped into the Ball and used the flip top as a ledge to fill out his name tag.

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This is significant because decades before I met Adam I had photos of him plastered all over my bedroom because I swooned over his Johnny Mathis-smooth-as-wine-which-I-don’t-even-like-so-I’ll-say-smooth-as-Skippy-Peanut-Butter-smooth voice. Here’s what I looked at on my ceiling every night as a teenager when I got into bed:

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I can’t believe I have no photos of the bedroom I grew up in. It was decorated to the max and gave all indications of how and who I would grow up to be which is exactly how and who I grew up to be both from a decorative and musical standpoint. But me having no photos is another matter entirely so suffice it to say this is why I document everything so incessantly now. But back to the Ball B-B-Q…

My little Ball B-B-Q may not be capable of smoking with the big guys…

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…and it may not be capable of turning out food like this…

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…but as it sits in my yard this Fourth of July, probably wishing it had a big bulging steak or some burgers sweating on its grills, it just makes me happy to look at it and celebrate the fact that I had the good taste to buy it in the first place.

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