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It just got freezing in LA. The skies are getting dark and gloomy, you need a heavy coat, it’s very un-LA like. The only thing that makes me feel okay about the cold invading the gorgeous, sunny west coast is that I get to wear my hats. I have a bunch of them that look like objects. This teapot cap keeps my head warm just like the real thing keeps the brewed stuff piping hot. I love this hat because it always stands up proud no matter what rains or snows on it. The only thing I don’t like is tea. Never could stand it, never will. I don’t care if it’s flavored, in ice cream, has 3 pounds of honey in it or what. When it comes to tea, this hat is as close to my mouth as it’ll ever get.

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Completely oversized for the two light switches it’s designed to decorate, this textured fake wood plastic switch plate adorned many a wall in the 1970s, with any luck a wood paneled or flocked wallpaper covered one for optimum viewing pleasure. Light switches are usually designed to be only slightly larger than the hole in the wall they’re meant to cover but this Andre The Giant of one stretches to 7″ to accommodate a flower pot sprouting a completely overgrown freak of nature sunflower plant with multiple blooms.

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Donny Osmond may have won Dancing With The Stars and a whole lotta money for his favorite charity but a whole lotta money was the last thing that was spent on manufacturing this toy microphone and song sheets set at the height of the Donny & Marie Show frenzy in 1976. Despite the claim on the package that you too can “CREATE YOUR OWN SONGS • MAKE YOUE OWN MUSIC” the non-working plastic mic attaches to nothing and won’t get you much farther than singing into a candle or a shoe or anything else remotely microphone shaped.

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The “song sheets” are literally blank sheets of paper that you write the notes to your own song on should you have enough songwriting chops to pull one out of the blue and be blessed with the knowledge of how to notate music, the latter of which I don’t even know how to do.

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To make matters worse and even lower-rent, the song sheets are stapled together at the top and the bottom and it’s next to impossible without surgical instruments to remove the staples without ripping the one-ply-thick-thinner-than-toilet-paper paper it’s printed on.

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Made in Hong Kong during the heyday of the bro/sis acts’ ABC variety show by the family’s own Osbro Productions and distributed by Gordy International (how did Motown get into the act?) it also appears that Donnie got the shaft on the shaft of the microphone as Marie’s name got bumped up to all caps and Donny’s remains crushed into diminutive lower case letters.

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All around, this belongs in an express elevator up to the Penthouse of Kitsch because it is sooooo totally and completely cheaply made, meant to be dumped into bargain bins at all of the dollar discount stores that were just starting to get a smelly toehold on the American merchandising scene.

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Long before it was de rigueur for refrigerators to come equipped with automatic ice makers a contraption like this hung in almost every kitchen in the world allowing homemakers to crush fine or coarse ice without lifting a hammer, the previous method of accomplishing such a thing.

9 1/2″ tall, this most revolutionary of kitchen appliances was made by by the Rival Corp. of Kansas City, Mo., the company that also relieved kitchen misery with their forward thinking Can-O-Mat, Juice-O-Mat, Broil-O-Mat and other O-Mats which graced the product line until production ceased in the 1960’s. Thankfully I still have this one to remind me of my excellent past ice experiences. It’s been in full use this Thanksgiving weekend as many drinks preceded the bird and it’s leftover flock.

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If you live in the US today is all about eating leftovers. These turkeys have been part of my post Thanksgiving overload ever since they were rescued from a thrift shop by my sister in Omaha, Nebraska in the mid 1980s. Made in the ’50s, these abstract fowl are filled by detaching the tail and shoving the seasoning inside, remaining faithful to the stuffing technique imposed on the real bird.

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The grains come out of small holes around the nose.

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These birds are a nice ‘n tasty 4″ high.

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I love Thanksgiving. The anticipation is so great I can smell the turkey and fixins wafting up my nostrils the entire month of November. Every year I contemplate prepping the bird myself, eager to re-create my mother’s recipe using the best ginger ale in the land, Detroit’s own Vernors, but I thankfully receive enough invitations that one less fowl hits the ovens and my potential guests are spared from any possible food related illnesses. All this to say that when I found this inflatable turkey I was elated! It sits in the middle of my dining room table all month and then gets blown up again for Christmas. My house smells delicious because I have such a vivid imagination. Anyone’s welcome over to my place for some delicious plastic and hot air. Happy Thanksgiving!

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Last night Donny Osmond bagged an almost perfect score doing the Cha-Cha to my song, “September”, on Dancing With The Stars. In his former life as an Osmond he and his brothers took on my follow-up Earth Wind & Fire hit, “Boogie Wonderland”. What makes the latter performance in Provo, Utah in 1980 kwalify as Kitsch isn’t so much that Donny’s singing is uncharacteristically off, flatter than an iceskating rink in spots, but that the lyric changes made to suit Mormon sensibilities are so odd:

Original Boogie Wonderland: “You say your prayers though you don’t care. You dance and shake the hurt.” / Osmondized: “You never felt vibrations quite like this in Wonderland.”

Now, not only am I not against lyric changes when someone covers my songs (after the original, correct version is out), I’m rarely concerned with preserving the sanctity of the original record and always more interested in the individuality expressed in a new version. But I don’t understand what was so offensive about the original Boogie Wonderland lyric. I guess it was the word ‘prayers’ and the fact that you might momentarily not have faith in them when your life has crashed to the ground as the lines previous to it set up: “Midnight creeps so slowly into hearts of men who need more than they get./Daylight deals a bad hand to a woman who has laid too many bets./ The mirror stares you in the face and says ‘baby, uh uh, it don’t work…”)

Original Boogie Wonderland: “I chase my vinyl dreams to Boogie Wonderland.”/ Osmondized: “I chase my crazy dreams to Boogie Wonderland.”

I guess they thought vinyl was some kind of sex costume or toy…  I meant vinyl as in plain ol’ 33-1/3.

To Kitsch in Provo and Donny winning the prize!

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In my formative years of being a songwriter, the Captain and Tenille covered the AM radio landscape thicker than astroturf. Even their bulldog, Elizabeth, was part of the act that made wearing a dorky captain’s hat and walking around with a bowl haircut that looked like it had marshmallows stuffed in the curled under ends fashionable. But for whatever can be said about their ultra bubblegum, cringingly cute look, Captain and Tenille made equally as cute yet great Pop records like “Love Will Keep Us Together”, 1975 Record Of The Year, and the evermore schmaltzy “Muscrat Love”, a song with a great melody whose arrangement featured scrunched-up-rat’s-nose synthesized rodent sounds.

This Toni Tennille doll is a “fully poseable fashion doll” that’s 12-1/4 inches tall and features “cut out accessories”, which means you have to cut out cardboard shapes of Elizabeth the bulldog’s bones and bowls and then play with them flat on the table.

Ms. Tenille was made in 1977 by C&T’s own Moonlight and Magnolia, Inc. in association with Mego Corp, maker of some of the most popular and cheesiest dolls of the 1970s as evidenced on the back of the box where photos of other dolls in their TV Starz series feature Tenille’s identical face.

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Vintage 1970’s cardboard Mahalia Jackson church fan, courtesy of the Robert L. Parks Funeral Home of Cedartown, Georgia. When Jackson, the original Queen of Gospel, passed away in 1972 this fan with her likeness, made by the A. Sheer Company, flooded Black churches in America to join the rest of the church fan flock of Martin Luther Kings, sentimental portraits of African-American families and pastoral scenes courtesy of mostly funeral homes, cleaners and and car dealerships.

Church fans are still in heavy use today and Mahalia is still there waving with the best of them.

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