Allee Willis Blog

07Sep 2010

Allee Willis’ Soul O’ Day – Earth Wind & Fire At the Hollywood Bowl with a Seventy Piece Orchestra and Fireworks!

07Sep 2010

Allee Willis’ Soul O’ Day – Earth Wind & Fire At the Hollywood Bowl with a Seventy Piece Orchestra and Fireworks!

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Anyone who knows me knows that I don’t go to concerts. I don’t like the crowds, I don’t like the walking, I don’t like someone singing next to me or standing up in front of me dancing. I understand this is the nature of concerts and I’m not out to change that so I was always happier sinking my head under a set of headphones and listening to the intricacies of the music rather than the idiosyncrasies of the crowd. This includes concerts where my own music is being performed. Of the hundreds and hundreds of songs of mine that have been cut I’ve seen maybe ten of them performed live. One of the most memorable nights ever for me was in 1979 at the Los Angeles Forum when half of the songs performed by Earth Wind & Fire were mine, including “September”, “Boogie Wonderland” and “In the Stone”. Although I’m blessed to have some of my tunes among their most popular I never saw the band perform live again. Until last Friday night when I saw a performance that blew my head off my shoulders and still has me skipping along the sidewalks of Los Angeles, a very happy girl.

On the slight chance you don’t know “September”, my first hit with the group, this will jog your memory. For “Boogie Wonderland” go here. There’s a lot more of them but that will suffice as context for this post.

About six months before “September” came out at the tail end of 1978 I started writing with Verdine White, founding member of EWF, pictured with me at the top of this post, and to this day my favorite bass player in the world. We wrote a theme song for a short-lived TV dance show called “Hot City” for a singer named Shelly Clark. Verdine married Shelly and also put me in one of my most important relationships ever, my collaboration with Maurice White, Verdine’s brother whose vision EWF was. Although I’ve seen Verdine often over the years I just saw Shelly for the first time last night since we did “Hot City”. That kind of time span will never happen again.

I wouldn’t have even been at this concert if my friend Nancy Ferguson hadn’t insisted that I go after almost every person I knew told me they were going. The one photo I didn’t take last night was of my little family group, Nancye, Jim Burns and Prudence Fenton, who I go everywhere with and who schlepped me to The Bowl on Friday. Here we are a couple of months ago at a vintage slide show:

I also hung out a lot with my excellent friend and EWF fan number one, Luenell.

Luenell, Shelly and I took excellent head shots throughout the evening.

Luenell came with Constance Tillotson. Amongst the three of us we’re known as as Twinkie (Constance), Luenell (Ding Dong) and Hostess Snowball (me).

The concert itself was astounding. It never hit me until it started that for the first time in my life I was about to hear my songs played with a live 70 piece orchestra. It was actually the first time Earth Wind and Fire heard their songs this way too.

Songwriting can be a lot of work. For me personally, many times along the way it was also a lot of trauma as when you’re a songwriter it’s oftentimes like being the attendant in a restroom; the restroom attendant is there to change the towels and service the patrons/ the songwriter is there to deliver options of music and lyrics and service the artist. I started doing art and videos and later, technology, because I was someone who needed to create all the time. Whereas much of my time as a songwriter was spent babysitting, waking up an artists’ brain from seemingly eternal sleep, waiting around for hours while they decided whether it should be an “a” or a “the” in the lyric or to go to a D in the music and me knowing it should be none of the above. But I have news for you – Every inch of blood, sweat and trauma was worth it when I saw EWF play “September” with a big mofo 70 piece live ass orchestra and fireworks going off throughout the song. I think you can tell how excited I was by this little movie I took on my Canon Elf.

People who filled the 17,000+ seats posted a zillion videos of this on YouTube. This one is shot from further back and shows all of the fireworks.

Now I know I’m about to stay up all night writing this because I keep finding all these videos shot from different seats at the Bowl. This one’s from about halfway back. As much as I’m tempted to post the at least 20 of these I’ve seen so far because I’m so eternally grateful for people around the world who’ve embraced “September” for all these years, I promise this will be the last:

About a year ago, when I first opened my social network, The Allee Willis Museum of Kitsch @ AWMOK.com, me, Luenell, Verdine and Larry Dunn, original EWF keyboard player who played on all my EWF hits, did a slightly less orchestrated and lit performance of “September” when we performed it at the opening night party in an alley playing on thrift shop instruments.

Not at the party that night but always in my heart is Philip Bailey. As anyone who’s ever listened to EWF knows, Philip has just about the most extraordinary falsetto voice as any human being ever created. Until last night at the Bowl it had been at least 15 years since we’d seen each other.

I can’t tell you how happy I was to be reunited with Phillip. Just like I can’t tell you how proud I was to be part of this extraordinary group whose message has been rock-solid-2010-spiritually-evolved since they began recording in the late 60s. Phillip felt the same way about me as evidenced in this video that unfortunately cuts off right when he gets going. (I suppose I should be grateful for having even this much of the conversation on tape though truth be told, my heart felt like battery acid was lacing through it when I saw the camera dangling from the arm of the person I had given it to to shoot as opposed to being pointed at us capturing every single once-in-a-lifetime word.)

I know it’s hard to hear so I’ve stooped to typing out what Phillip said because it meant the world to me. Phillip: “Allee Willis is one of the greatest writers who ever lived or breathed. Without Allee Willis, a lot of those songs wouldn’t be here for us, for Earth Wind & Fire….”

Luckily I only went for a photograph when I saw Ralph Johnson, the third original member still in the group. We hadn’t seen each other since the early 80s. It will most certainly not take another 30 years for this to happen again.

Even the Godhead himself and the man without whom I would never be where I am today as a songwriter took the stage for a few moments. Maurice White hasn’t performed with the group for years and the audience went insane when he walked out. He left before the party afterwards but here’s a photo of us taken a few years ago at the opening of Hot Feet, a musical featuring all EWF music in which I had seven songs. We’re with two of my all time favorite songwriters in the universe, Ashford and Simpson, and LaChanze, who won the Tony for playing Celie in my musical, The Color Purple, playing just down Broadway from Hot Feet at the time.

Now back to The Bowl. Here I am with Greg Phillingaines, the completely brilliant artist and keyboard player who also was a prominent part of my musical history, not to mention playing on every important Michael Jackson solo record and about a trillion other ones you know. Not to mention that he’s also playing on “I’m Here”, a song of mine from The Color Purple that’s on Fantasia’s new CD.

I had the time of my life Friday night but I still don’t like the crowds, the walking, the people singing out of tune next to me or blocking my view because they’re up on their feet dancing. But if anything could change my mind it was this experience of 17,000 people going nuts while the group who changed my life, a dream orchestra and easily some of the most spectacular fireworks I’ve ever seen accompanied my music.

Ba-de-ya.

11Jul 2010

Allee Willis’ Kitsch O’ The Day – James Dean, Main Drain and Brown Material Roads

11Jul 2010

Allee Willis’ Kitsch O’ The Day – James Dean, Main Drain and Brown Material Roads

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I drove up to Monterey on Friday from LA. Most people would get excited about going to the Aquarium or Cannery Row but I get excited about the cheesy names of the roads on a shortcut we take from the 5 to the 101 off an exit called Lerdo Higway that connects you to Highway 46 where James Dean met his maker. Once you exit the 5, the first “main street” you hit is Main Drain.

I don’t know about you but other than myself I can’t think of many people who would be happy to live on a street so eloquently named. A couple of miles further comes a road I’ve also always loved the name of as I can’t figure out how anyone could have arrived at naming it such:

Exactly which brown material I’m not sure of though the fact that there are a lot of cows in the area brings a certain brown something to mind. We were very excited as we approached the actual street sign, only 50′ away.

But just as I was about to hop out and be photographed under the street sign I’d sworn I would capture myself under one day as I sped past it my last five trips to Monterey I realized something was wrong. We slowed down trying not to disrupt traffic, a couple of tractors and a van with a bucking bronco ridden by a pig painted on the side. To our horror, all that was left of the Brown Material Rd. signage was a lonely pole, a screw plate and one dangling rusty bolt. As many times as I’d thought about doing the same thing I can’t believe someone actually had the balls to do it. If you know anyone with a Brown Material street sign hanging anywhere please let me know. But thankfully, Brown Material is apparently a U-shaped road as 100 feet ahead we came across this:

Not as impressive as spelling out the full word but Brown Mat will do. It’s still such a silly name for a street. Maybe out here in the country Mat means what Place often does in the city. For example, there’s a 21st St. and a 21st Place right next to each other in Santa Monica. The Place is just as long as the Street but apparently something distinguishes the two and maybe that’s the relationship between Material and Mat. Either way, I’m happy just to have gotten this shot. The tractors and bronco pig van were already too annoyed with us with slowing, almost pulling over and then not so although I was able to get this street sign shot there is no evidence of me standing under it.

Three minutes later we hit the last place James Dean stopped before climbing into his Spyder 550 and smashing head on into a 1950 Ford that entered his lane, entering Immortality.

The original Blackwell’s Corner used to be a small vintage structure but was modernized recently into this faceless hulking industrial shed.

But the inside is still wonderful where they sell hundreds of different kinds of home harvested nuts displayed alongside excellent kitsch-heavy merchandise. Note the East of Eden Fudge Factor sign behind the elegant plastic ice buckets with foil stuffed inside to show off the “crystals”:

I always get some chocolate covered pistachios for the road and then shoot a few photos of the giant James Dean head out in front, one of many heads that pepper the highways in these parts although all the others are men in overalls harvesting broccoli or a grandma enjoying a nice head of lettuce.

Now that I’m here in Monterey the streets have normal coasty kinds of names and there are no giant heads of Doris Day, Clint Eastwood or any of the other notables who live here. I always have a nice time when I’m here but if left to my own devices I’d be exploring the sights – or lack of them – on Brown Material Road.

07Jun 2010

Allee Willis’ Kitsch O’ The Day – Plastic Fruit & Vegetable People and The Most Talented Man You’ve Ever Seen Playing Music On Vegetables

07Jun 2010

Allee Willis’ Kitsch O’ The Day – Plastic Fruit & Vegetable People and The Most Talented Man You’ve Ever Seen Playing Music On Vegetables

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I used to actively collect figurative sculptures made out of plastic fruits and vegetables. Largely crafts projects, I loved them because most of them were so completely stupid looking but you could always tell a lot of love went into making them. I eventually stopped collecting these anthropomorphic fruit and vegetable people because in order to stand up straight most of them were made out of really light, cheap plastic food that would crack after a couple of years leaving them looking like accident victims. Much like what happens to actual vegetables that I periodically have a conscience to buy only to end up jamming them down the disposal when they start curdling and smelling up the frig because they’ve gotten too old to eat. But as with anything, I love when things have dual purposes like plastic fruit for display/plastic fruit for body parts. Like what a great shape an apple makes for a head or how natural the sprouts on the top of an onion look for hair. And until now, that’s how I prefered to experience vegetables.

But a few nights ago I ended up staying up most of the night after stumbling on this guy on YouTube who also makes excellent use of vegetables for purposes other than which they were grown. Here he is playing a cucumber trumpet:

I’ve never heard a carrot used as a pan-flute before:

This would definitely be a way to get me to pay attention to broccoli:

Cabbage is one vegetable I actually like though I prefer it as cole slaw or with corn beef at a good deli. I’ve never experienced it in concert as a flute.

Both apples and “Mary Had a Little Lamb” annoyed me as a kid. They still do.

I’m used to radishes being little round red things that I actually like but I guess if I knew they could be used as musical instruments I could wrap my mouth around this one too:

I have no idea what a butterbur is but it’s leafy and would probably taste good on top of a hamburger.

I’ve never had trouble with scallions as I love them in tuna fish salad.

I may have a Grammy and songs I’ve written may have sold over 50 million records but I can’t blow a watermelon and make it sound like a clarinet no matter how strong my musical proclivities are. I suppose there’s nothing to stop me from trying but in the meantime I’m doing fine without adding this skill to my repertoire and I’m just going to enjoy my fruits and vegetables as really cute plastic people.

30May 2010

Allee Willis’ Kitsch O’ The Day – “Party Jocs” Coasters and Top Chef Masters at Street

30May 2010

Allee Willis’ Kitsch O’ The Day – “Party Jocs” Coasters and Top Chef Masters at Street

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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.

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.

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.

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…

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

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

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

… 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.

Then we topped it off with barbecued pork sliders:

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”.

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

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.

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.

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.

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…

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.

27May 2010

Allee Willis’ Kitsch O’ The Day – Art Linkletter “People Are Funny” Party Game

27May 2010

Allee Willis’ Kitsch O’ The Day – Art Linkletter “People Are Funny” Party Game

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Yesterday, iconic TV host Art Linkletter passed away. Even as a little kid Art seemed a little square to me but there’s no doubt that he pioneered many of the formulas of today’s TV shows with segments like celebrity guests, cooking, talking to kids and audience quizzes. His big two hits which between them ran from 1952 to 1970, House Party and People Are Funny, were massively popular. This ‘party game with cards’ spun out of the latter and continued in people’s living rooms what was so popular on Art’s shows – getting everyday people to do dorky stunts like trying to cash a check written on a watermelon and make fools of themselves, oftentimes ending up with a pie in the face for failing. It’s obvious that Linkletter’s tactics are still very much alive on TV today.

As simple as the concept of the TV show was, the instructions for this 1954 game made by Whitman Publishing Company, known mostly for the books they made of popular TV shows, are exhaustive. I would’ve been tired from reading them and gone to sleep without starting the game.

But I think the gist is that one card describes an aspect of your character, the second your occupation, the third a hobby and the fourth assigns an attribute to all of it.

Then something like Charades happens. I swear I’d be in the kitchen baking brownies as I have no patience for long instructions OR Charades.

A little known fact about the TV show People Are Funny is that it pioneered computerized dating in 1956, matching up couples who answered questions from a Univac computer.

In the late 60’s, Art made this commercial for ‘Circus-Vac-In-A-Box’ Circus Nuts with his daughter Diane.

They also recorded this message about the necessity of clear communication between parent and child:

In 1972, Diane jumped out of the window and met her demise six stories down. Art then became a crusader for the perils of LSD.

I guess most people would show you a classic Art clip from his most famous tv segment on House Party, “Kids Say the Darndest Things”, but as an avid aKITSCHionado I must fast forward to 1990 and show you Art and his chairs.

So, Art, your time has finally come…

Your People Are Funny game caused people to think about themselves in different ways and try new things and I’m always in favor of that.

R.I.P. Art Linkletter.

26May 2010

Allee Willis’ Kitsch O’ The Day – Velveeta Camera and “Food For Thought” Party Photos!

26May 2010

Allee Willis’ Kitsch O’ The Day – Velveeta Camera and “Food For Thought” Party Photos!

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This is one of the few food related items that John Lloyd Young didn’t jewel at my place last Sunday when The Allee Willis Museum Of Kitsch & APLA hosted “Food for Thought”, the first ever exhibition of his brilliant Pop Kitsch art interpretations of iconically kitschy komfort foods. Had I remembered where I put it I may have used my Velveeta camera to take some fabulous photos that day. Lucky for us I didn’t as you can actually see the work and the beautiful Pop Kitsch guests like RuPaul who came to view it much clearer then my little Shells & Cheese Dinner baby is capable of popping out.

John Lloyd’s eye-popping work costs somewhat more than the three Kraft box tops and dollar shipping and handling one had to send in to get this Velveeta Camera when it was made in the 1980’s. The 110 Kodak film cartridge is still inside…

…just as fresh as John Lloyd’s ever-glowing can of Spam.

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Of course, my preference would be to dump the Kraft Shells & Cheese Dinner cam and go for John Lloyd’s Kraft Mac & Cheese “Dominoes”. It’s hard to a tell from this photo but he jeweled 100 boxes of it and toppled them out on a 16 foot serpentine table.

In 2006, the musical I co-wrote, The Color Purple, lost the Tony to Jersey Boys of which John Lloyd Young was the star and for which he won the Best Actor Tony.

We hadn’t seen each other since the round of award parties back then but a few months ago he e-mailed me out of the blue and asked if I was interested in writing some music with him. When he came over to talk about it he brought me a gift that he had just made, a jeweled box of Triscuits.

I went completely nuts for the box and encouraged him to keep on jeweling. What I saw over the next couple of months I considered brilliant works of Pop Kitsch art and I decided that presenting John Lloyd’s work would make an excellent exhibition as the first artist officially sanctioned by The Allee Willis Museum Of Kitsch. My Tony loss to him already made a perfect set up for Kitsch. I also thought that his Pop Kitsch sensibility would inspire mine and make for some excellent party props like this sign I painted interpreting the junk food John Lloyd chose to honor in his work.

We both were hard at work up until the last minute before the guests arrived.

And arrive thank God they did as all proceeds benefited AIDS Project Los Angeles. Those who dug deep included Stu James (Harpo in The Color Purple), Lesley Donald (Buster in The Color Purple) and Jai Rodiguez,

as well as Mito Aviles, Chadmichael Morrisette and Tiffany Daniels (Squeak in The Color Purple) posing with John Lloyd’s very first jeweled piece, “Virtue” (not edible!)…

…and a couple hundred more folks who you can see you right here.

When it came to food there was delicious Moms BBQ House soul food versions of John Lloyd’s delicious jeweled food.

Here’s Charles Phoenix modeling the chicken, peas and mac & cheese with me, Sonny Ruscha Bjornson and Mark Blackwell:

“Food for Thought” was also an unbelievably great excuse to order the world’s largest home delivered pizza…

… and to float individual servings of cotton candy in the pool for guests to snack on.

Here’s a lovely display of Spam that accompanied John Lloyd’s bejeweled Spam…

… and the artist vouching for its edibility:

I must say that despite my lifelong dedication to junk food I never tasted Spam until I spiked a cube here. Not surprising to anyone who knows me I found it very tasty. But I digress.

All in all, it was a wonderful day both as a party host and as a conceptual artist. John Lloyd’s and my work melded into one big kitschified fondue and despite the fact that rain was threatened all week the heavens held up so our eyes and stomachs were able to ingest beautiful works of art that my Velveeta camera only dreams of capturing in their full glory.

For full documentation of the bejeweled food fest go here.

To see how the Los Angeles Times enjoyed it go here.

Photos: Melissa Manning for the Look Partnership LLC

25May 2010

Allee Willis’ Kitsch O’ The Day – The Soul Grabber and Patti LaBelle’s Surprise Birthday Party

25May 2010

Allee Willis’ Kitsch O’ The Day – The Soul Grabber and Patti LaBelle’s Surprise Birthday Party

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This late 60’s Soul Grabber sign for Budweiser malt liquor is one of my favorite possessions. Everything about it screams late Afro 60’s, one of my favorite periods in Soul. In my personal life there’s one supreme SOUL GRABBER and her name is Patti LaBelle. She was the first singer to start regularly doing my songs, starting with “Little Girls” in 1978 and continuing throughout the years with others like “Come What May” and “Stir It Up”, which won me a Grammy when it was on the Beverly Hills Cop soundtrack. When I first met her Patti also introduced me to Herbie Hancock and between the two of them that led to Earth, Wind & Fire. So when it comes to grabbing souls Patti got a hold of mine, shook it loose and got it soaring.

Last night I went to a surprise birthday party thrown for Patti. As surprise parties go, as parties in general go, this was a killer, a real SOUL GRABBER. Here I am with Patti and her mom:

And here with Anita Pointer (of The Pointer Sisters, also responsible for me getting that Grammy with “Neutron Dance”), Luenell (hooker extraordinaire in Borat and fantastic comedienne/friend), Bunny Hull (who wrote “New Attitude” for Patti), Constance Tillotson (inseparable from Luenell – we call ourselves Twinkie, Ding Dong and Hostess Snowball):

And here I am with Loretta Devine, original Dream Girl…:

… and Siedah Garrett, singer extraordinaire who also wrote “Man in the Mirror”:

And for the second day in a row here I am with RuPaul who I just saw at my party:

Don’t worry, I haven’t forgotten about the Soul Grabber…

Here I am with Charlo Crossley (one of my oldest friends, a former Bette Midler Harlette and also a Church Lady on Broadway in my musical, The Color Purple) and Rudy Calvo, who’s always with Patti whenever I see her:

The great Kym Whitley:

And the so great Brian Dickens, Fantasia’s manager. I co-wrote and just co-produced “I’m Here”, Celie’s big song in The Color Purple, with a live 40 piece orchestra and Fantasia, who starred as Celie. It comes out July 13.

I still haven’t forgotten about the Soul Grabber…

Here I am DEEP in conversation with the birthday girl:

And with Cheryl Dickerson and Freda Payne (“Band Of Gold”, “Bring the Boys Home” and party regular here at Willis Wonderland.)

And here I am with Norwood, songwriter and owner of my favorite front lawn in LA…

… the one with all the statues of David in front of it:

That house grabs my soul and everyone else’s who spots it and does an abrupt turn off of 3rd Street to park in front and take photos.

So happy birthday Patti LaBelle and may your soul continue to be grabbed so that you may regularly grab all of ours!

Photos: Prudence Fenton and Allee Willis

24May 2010

Allee Willis’ Kitsch O’ The Day – 1950’s BonAmi “Push Button” Cleaner and A Smatering of What It’s Cleaning Up

24May 2010

Allee Willis’ Kitsch O’ The Day – 1950’s BonAmi “Push Button” Cleaner and A Smatering of What It’s Cleaning Up

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This vintage cleaning product can may be a little worse for wear but so am I as I hobble around my house shining it back up to its usual state after a couple hundred people trounced through here yesterday in celebration of John Lloyd Young’s debut exhibition featuring his very first works of Kitsch Pop art. I love that cleaning products in aerosol cans were so new when this came out in the 1950s that it was made of silicones (more than 1!) and was referred to as the “push-button cleaner”.

John Lloyd might be referred to as the “push-rhinestone artist”. He does phenomenal work jeweling everyday food products like a box of Cornflakes, a can of Spam and a bucket of the Colonel’s favorite.

Most of the food appearing as bejeweled art was actually served at the party. If you had a couple minutes to spare we would even toast you a Pop Tart.

I’m sick that I didn’t take a photo of the gigantic three-foot round pizzas that arrived to match this piece John Lloyd made of himself holding his Tony for Best Actor in a Musical for Jersey Boys (trouncing my own musical, The Color Purple, I might add) surrounded by a melange of Tony’s Pizza boxes.

The intricate jeweling doesn’t read well in the longshot so here’s a close up of the pie:

I won’t see all the photos from the party which was a benefit for AIDS Project LA until later today but here are a smattering of some a friend snapped until I post the real deals tomorrow.

Honoree and hostess:

Michael Lerner, me, RuPaul and Charles Phoenix:

Stu James, Lesley Donald (Both in The Color Purple), me, JLY and Jai Rodriguez:

Prudence Fenton, Mark Blackwell and me:

Mito Aviles, me, Tiffany Daniels (Squeak in The Color Purple) and ChadMichael Morrisette:

JLY and me and our shows as bejeweled by the artist:

I need to get back on my hands and knees and start cleaning so I’m ready to look through the real photos when they arrive later today. Thankfully, the Bonami can contains handy instructions for how to use the contents:

13May 2010

Allee Willis’ Props O’ The Day – Bye Bye, Jerrie Thill…

13May 2010

Allee Willis’ Props O’ The Day – Bye Bye, Jerrie Thill…

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I just got the news that Jerrie Thill, the 91-year-old female drummer on an oxygen tank who I did my song and video, “Hey Jerrie”, with in 2009, passed away last night. She was a killer drummer and an astounding spirit, albeit a slightly deflated one over this past year since she broke her hip and was no longer able to play. We became great friends after I met her in 2008 during one of her regular Sunday gigs at El Cid.

Jerrie was the hardest working woman in show business, smacking the drums since being discovered in the midwest by one of the Capone boys during Prohibition.

Eventually Jerrie moved to Hollywood in 1945 to be the bandleader at The Flamingo, a drag club on Sunset owned by Myron Cohen.

She gigged constantly ever since, doing all kinds of dates including appearances on shows like The Golden Girls with her then band, The Dixie Belles, until her hip injury which happened just a few months after “Hey Jerrie” came out. The video caught on fire on YouTube and at one point was even the 12th most viewed video in the world. With no promotion it’s gotten almost a quarter of a million views, a source of great happiness to Jerrie and mandatory viewing for anyone who walked into her house or hospital room. If you haven’t seen it please watch it now as a way of paying tribute to this fine, ever-foxy lady who smacked the skins like no other.

I’m happy to say that Jerrie was sharp all the way to the end. She loved to gossip and talk about music which we did frequently.

She did one final performance at El Cid after her hip broke.

I was set on re-cutting my song “Neutron Dance” with her, the jungle drumming on that being something that Jerrie could do in style, and getting The Pointer Sisters to sing backup on the record. I reassured her that in this day and age we could cut one drum at a time but I think she couldn’t deal with the fact that she had slowed down at all so it sadly never happened.

I’ll miss Jerrie a lot but am heartened by the fact that she knew it was her time to go and that she can make a lot more ruckus up there, free from injury and age. I’m assuming she’s playing her signature song, “When You’re Smiling”, right now.

For more essential Jerrie hit these links:

https://www.alleewillis.com/woa/jerriethill/index.html

https://www.alleewillis.com/music/jerrie-thill/index.html

11May 2010

Allee Willis’ Kitsch O’ The Day – Liberace Mug

11May 2010

Allee Willis’ Kitsch O’ The Day – Liberace Mug

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I bought this Liberace mug at the first Hollywood estate sale I went to when I moved to LA in the late 70’s. I think Jack Hellman, the recipient of this inscribed mug from Liberace, was a critic at Variety. I know that he was a Taurus.

Whatever he was he was a big deal who had very fancy clothes and a lot of personal gifts from a lot of Hollywood stars. I also bought a tux jacket there, maybe Jack’s, that I wore a lot right after “September” came out and I started getting invited to fancy music events.

Of course, no matter what I wore I never was going to dress better than Liberace….

….to whom I lift my/Jack’s mug now!