08Apr 2013

R.I. P. Annette…

08Apr 2013

R.I. P. Annette…

 

Autographed in lipstick by Annette, one of my earliest star obsessions and with whom I shared much chocolate milk watching after school every day, this portrait has long been one of the most cherished renderings in my kitsch likeness collection. I found it laying face down in a puddle outside of a thriftshop in the pouring rain in the mid 80’s.

That big blotch of red  in the bottom left corner is a cut out of her actual lip print on cellophane. The lips were almost all there despite sitting in that puddle for God knows how many days, weeks, or months and held on for at least another 20 years until the sun pouring through the window smiling at them at my place everyday finally took it’s toll. Unfortunately, Annette and her lips finally lost their long battle with MD today.

Don’t know who Tony is but his heart had to have skipped a beat getting this autograph from Annette written entirely in Love That Red or whatever 50’s shade she wore.

The exact same lipstick as the lip print, gone but not entirely forgotten:

Just like Annette to whom ‘now it’s time to say goodbye…”. R.I.P….

 

23Aug 2011

Allee Willis’ Soul O’ The Day – R.I.P. Ashford, Leiber and Ragavoy

23Aug 2011

Allee Willis’ Soul O’ The Day – R.I.P. Ashford, Leiber and Ragavoy

What are the odds of losing two of the most influential songwriters of all time on the same day?  That’s what happened yesterday. First, Jerry Lieber, whose “Hound Dog” got the Elvis-not-to-mention-Rock-‘n-Roll train rolling, and then Nick Ashford, a songwriter whose influence on me was immeasurable. I never met Jerry, though I wrote  a bunch of songs with his son, Oliver, in the early 90’s. But Nick I knew and loved. Not just as a songwriter who wrote my favorite song of all time but as one of nicest guys around. His eyes always sparkled, he was always smiling and soul oozed out of him as naturally as breath.

Along with his brilliant wife and collaborator, Valerie Simpson, Nick turned out the kind of songs that made my songwriting head spin. Can you say “Ain’t No Mountain High Enough”?! How does a song get any better than that?? In any of the zillions of versions of it that exist? And that’s just the tip of the hitberg.

When my musical, The Color Purple, opened on Broadway, Nick and Val were there. And when Chaka Kahn came in as Sofia a couple of years later they were there again. I don’t know where Valerie was for this shot with me, my Color Purple collaborator, Brenda Russell, and Patti LaBelle, the singer who first started regularly doing my songs back in the day, but that big smile was typical of how Nick always walked around.

Nick and Val also came to the Broadway opening of Hot Feet, the Earth Wind & Fire musical I had seven songs in. Here we are with Maurice White, founder and lead singer of EWF and who gave me the biggest break of my career with “September” and all that followed, and LaChanze, who won a Tony for playing Celie in The Color Purple.

Nick and Val were among the most supportive songwriters ever. I can’t even tell you how incredible it made me feel as a songwriter every time they told me how much they loved my music.

Which is amazing because the only time I ever got to work with them was on a really stinky song in a really stinky movie. In 1987, Scott Sanders, who later produced The Color Purple, managed Ashford & Simpson and asked me to write and produce a song for them. My collaborator, Danny Sembello‘s, mom got very sick right after we began and he had to bow out of the project. I was in way over my head without him. If you know bad movies and didn’t know I did the song that everyone dances to in the infamous McDonalds scene,“Down To Earth”, in the kitschingly horrendous Mac and Me, I know you’re plotzing now. And you certainly can’t imagine royalty like Ashford & Simpson gracing that mess either. So even more impressive that they remained so kind and supportive of me through the years. But I shouldn’t be talking about bad songs when honoring such an iconic being as Nick Ashford. Everyone should be as blessed to have such a joyous soul in their life.

Just a few weeks ago another iconic songwriter and friend passed, Jerry Ragovoy. Not only did he write such gems as “Piece Of My Heart” and “Time Is On My Side”, but he discovered an unknown songwriter named Allee Willis and produced her one and only album, Childstar, in 1974.

This hasn’t been a very happy month for songwriters. Though if I think about the jam going on upstairs it makes me smile. Besides, these are the kind of guys that live forever. R.I.P. Jerry Leiber, Nick Ashford and Jerry Ragovoy. If ever there were Rock ‘n Roll royalty this is it.

 

25Jul 2011

Allee Willis’ Kitsch O’ The Day – R.I.P. Milly Del Rubio

25Jul 2011

Allee Willis’ Kitsch O’ The Day – R.I.P. Milly Del Rubio

So that’s it. The third and youngest miniskirted, go-go booted Del Rubio has left the planet to rejoin the act. Normally I’m really sad when a friend of mine passes away. Trust me, I’m upset about Milly, but as the Del Rubio’s themselves were fond of saying, they were one person with three heads. And now they are back together as one.

Milly passed away Thursday night. The last time I saw her was this last Valentine’s Day when I delivered the hundreds and hundreds of cards, many of them handmade, that people sent to me, many of those via Hidden Los Angeles, to give to her. She wasn’t feeling especially great that day and discouraged me from taking the hundreds of photos I usually do because her hair and makeup weren’t perfect. Not that mine are in this photo with Milly from 1996 after a day in the sun on the roof of the triplets’ mobile home.

This was the last photo I have of Milly, taken about a year and a half ago when I saw her and we discussed that if she started playing her guitar again I would throw a big party to present her.

I had the honor of delivering the eulogies when the first two triplets passed, Eadie in 1996 and Elena in 2001. Immediately after Eadie passed, the remaining two, whose lives had always been enriched and enlightened by the performances they did, announced they never wanted to perform again. I tried to pull them back into it for a couple years, telling them that the reason audiences loved them would not disappear because there was one less sister. But they would have none of it. As you can imagine, that worsened for Milly when Elena left to join Eadie.

I can’t imagine that the world will ever again see something as magnificent and innocent as The Del Rubio Triplets. They were completely unaware that they were somewhat of an oddity and lived to entertain and make people laugh. Although people who were seeing them for the first time may have started out laughing because they had never quite seen anyone who looked or sounded like The Del Rubio’s, they were always won over and went home uplifted, adoring the triplets and remaining eternal fans.

The Del Rubio’s were massive part of my life. I always lived to combine high and low elements of art. I met the Del Rubio’s after my songs had already sold over 30 million records, but to have the opportunity to hear my hits performed Del Rubio style was the biggest reward of all to a budding kitsch lover such as myself. The very first time I ever presented them to the public they did a duet of “Neutron Dance” with Ruth Pointer, who sang lead on the hit record that was then number 6 on the Hot 100 chart. That was honestly the peak moment of a lifetime devoted to the pursuit of Kitsch meets Art, a musical highlight equal to winning a Grammy for the song, which was part of the Beverly Hills Cop soundtrack, that same year.

If you’re unfamiliar with The Del Rubio Triplets, you can get a crash course here. And here.

There’s a fund established for Milly and her sisters at the Edith Bolling Wilson Birthplace Foundation in Wytheville, VA., which you can make donations in Milly’s memory to here. You may not know who Edith Bolling Wilson is. She was the wife of Pres. Woodrow Wilson and the great aunt of the Del Rubio Triplets.

That’s right, they had Presidential connections big-time as you can see from that photo taken with Edith Bolling Wilson, with husband Woodrow looking on, at the Woodrow Wilson House Museum In Washington DC. Any of you who saw The Del Rubio’s already know how regal they were. Their presidential link is just one more cherry on the kitsch and musical sundae known as The Del Rubio Triplets.

If you’re on Facebook you can go here to leave a note about Milly and/or leave one here. R.I.P. sweet, blond, go-go booted angel…

21Jul 2011

Allee Willis’ Kitsch O’ The Day – R.I.P. Alex Steinweiss

21Jul 2011

Allee Willis’ Kitsch O’ The Day – R.I.P. Alex Steinweiss

Alex Steinweiss passed away last Sunday. Even if you don’t know his name there’s no way you don’t know his work. Steinweiss literally invented the album cover. Before the 1930’s, records came in brown paper sleeves. At 23, he was hired by Columbia Records and suggested that the music be accompanied by poster art. Thus began the singlemost prolific and influential record jacket design career the world has ever known. Not only did Steinweiss give life to the record industry but he made the burgeoning Atomic Age visible to the public, creating the first wave of freeform design that designers still ride today.

Everything Steinweiss did burst with color. You could hear the music without listening to it just by looking at one of his covers. He was as great at what he did as it gets. His style is still imitated, though I’ve never seen anyone nail it like Steinweiss, who makes even the most successful designer of modern graphics look like a copycat.

And those aren’t even his most famous covers. But it gives you an idea of the rhythmic and lyrical style that still influences modern design today. This was the first time this stuff was being done. Just look at the Google image search page for an overview crash course.

I was lucky enough to have a piece of art in an album cover show at the Robert Berman Gallery in LA a few years ago that featured hundreds of Steinweiss’ LPs. It was a tribute show to him with a wide variety of artists designing their own album covers.
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One of my favorite Steinweiss covers was Porgy and Bess. When I was (co)writing The Color purple musical, I listened to that soundtrack a lot. MP3s of course but that record cover was still in my head as I saw it so much as a kid. I hadn’t been a musical theater aficionado before I got the Color Purple gig. To bone up, I started listening to every theater soundtrack I could get my hands on, especially studying Black musicals. Hearing Porgy and Bess again was what put the genre over the top for me and made me excited about writing a musical myself.
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Here’s Steinweiss’ cover:
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And here’s my Color Purple-tinged take on Steinweiss for the gallery show:
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My piece not only interpreted my musical but commented on the fact that both Porgy and Purple were two of the very, very few all Black musicals on Broadway ever, and that one of those was (co)written by me. That’s a lot to stuff into a piece which was at times torturous to design. I could feel the incredible artistic journey I took making it once I stood back and saw it hanging on the wall. Especially with hundreds of actual Steinweisses, not to mention the man himself, only feet away.
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I got to meet Steinweiss too, which was a THRILL. I know we took photos together but I can’t find them for the life of me. So I’ll settle for being thankful for the life of Alex Steinweiss. His artistic influence on me was MASSIVE. Without him, all there was was the record. With Steinweiss, came story and concept and full expression of the artist and art form, without which I would die. R.I. P. Mr. Steinweiss.
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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.

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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.

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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.

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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.

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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.

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

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

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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.

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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.

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So, Art, your time has finally come…

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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.

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R.I.P. Art Linkletter.

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30Jun 2009

Allee Willis’ Kitsch O’ The Day – Farrah Fawcett Creme Rinse and Conditioner

30Jun 2009

Allee Willis’ Kitsch O’ The Day – Farrah Fawcett Creme Rinse and Conditioner

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Anything that took off as fast as Farrah’s hair did when Charlie’s Angels debuted in 1975 – 80% of females on earth immediately sheared their manes into replicas – insured immediate Kitsch Kollection status for all products released in association with the legendary locks. Although no one’s hair could have been further from Farrah’s than mine, I bought this bottle of Farrah Creme Rinse/Condtioner by Faberge the day it hit the shelves in 1978. I never intended to open it but a tragic haircutting mistake forced me to pop the cap and see if its magic powers worked.

This was in 1983. I had finally decided to chop down my middle-of-the-back length hair and the hairdresser, who I had never been to before, chose to give me a Farrah. Unfortunately, this was years past when it was hip to have all the little feathers and wisps that marked that haircut. Appalled that my heretofore trademark long curly hair was replaced with such a dated and and, at that point, conservative look I tried the conditioner praying it would somehow force my hair to match my head as well as Farrah’s matched hers.

When that didn’t work I locked myself in my house for thirty one days and every day cut a little more off one side of my hair thinking I would stumble on the ideal length and then cut the other side to match. As anyone who’s seen me in the 26 years since knows, I never committed and the lopsided experiment became permanent. Sometimes I read where people describe my hair as 80’s asymmetrical but to me it’s Farrah asymmetrical all the way.

Years later I met Farrah at a mutual friend’s house. She was really funny and incredibly nice. When she told me that she loved my hair I regaled her with the story of how it came to be. It made the biggest hair trauma of my life all worth it because I got to discuss The Farrah with Farrah.

R.I.P. Farrah Fawcett.

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