Bollywood Follies Key Club, Sunset Strip
February 21, 2004
Man, it's been a busy few weeks! Even before my art show, on
Feb. 21st, I had been honored to be asked to sing the grand finale at
the very first "Bollywood Follies" produced by "Velvet Hammer/Lucha va
Voom" sexpot, logistician, and cultural adventuress extraordinaire Rita
D'Albert.
In a surprising turn of events for someone who has consistently been
a media darling and gotten her shows on all sorts of "pick of the week"
lists, usually accompanied by outsized photo coverage, Rita some how
missed out on getting this brand new untried venture on ANY pick of the
week lists in the L.A. press, AND it was at a new (really
inconveniently located) venue, AND, as I pulled up in my cracked
windshield Volkswagen Golf, it was POURING RAIN. This did not bode too
well for attendance. But I guess Rita had the magic, because it was
packed anyway.
The show was at the Key Club on Sunset Strip - neither
location being favorites of mine; but whether due to the fantastic
staff, or me actually getting to see that the Key Club was more stylish
than the boxy bad 80's industrial low rent dump I had imagined it to be
(it's actually very comfortable, and has lots of wood surfaces and a
really cool art show downstairs - but the parking situation WAS
ridiculous), or the fact that Rita had hand draped the whole place with
swaths of blue velvet and glitter fabric, the location seemed warm and
welcoming, even if it wasn't one of the 20's movie palaces that Rita
usually chooses.
The show was much more music-heavy than the regular Velvet
Hammer (uh ......DUH! It was a tribute to Indian MUSICALS! I just
figured that out.) The Millionaire had a huge extended band, with more
horns, keys (though not ME! ) and percussion than ever before, and the
musicianship (including the always awesome Joe Berardi, and the lovable
trivia expert Ron Sures on bass) was incredible. And the featured
dancers were absolutely eye-popping, especially the nude blue painted
gold-headdressed multi-armed Kali twins - later to be featured on the
cover of the L.A.Times "Weekend" section. I was doing a good deal of
gaping.
The unbelievably slender, improvisationally astounding,
omnipresent Blaine Capatch did a great version of "My Name is Anthony
Gonsalves", which, even amongst the strange amalgam of underinformed
low
pop cross-breeding that IS Bollywood, seemed a peculiar take on a
possibly Latin lover/clown ...? Anyway, after many fabulous acts and
routines, which I peered at jealously from a blind spot at the side of
the stage, knowing full well Ann Magnuson and her wonderful husband
John Bertram were front and center at a ringside table with the best
vantage point to see EVERYTHING, all too quickly the show was winding
to a close and it was MY MOMENT.
I had been chosen to sing "Jaan Pehchaah Ho" from the Bollywood
classic "Gumnaam". It is the ONE Bollywood song that, even if you know
NOTHING about Bollywood, you may have heard. It was featured in "Ghost
World", but its insidious impact is far more pervasive than that. I
can
remember, maybe ten years ago, sitting with my friend Rocky Schenck at
the Cramp's house, while Ivy and Lux showed us that very clip of the
mini-skirted cat-eyed Indian go-go dancers shaking at a speed that
seemed physically impossible, while holding their clawed cat hands at
implausible right angles as if slapping the audience's face. This was
the flavor the Cramps were hoping Rocky could impart to the video he
was about to direct for them - and those images were seared in my mind,
even BEFORE I saw them again at a party at Alice Bag's house where
through some legerdermain (or cocktail mixing prowess) she managed to
get everyone (including ME) to DANCE to the T.V. MONITOR (!) in an
attempt to
replicate that very Bollywood frenzy - a sort of jet speed epileptic
take on
mistranslated "Shindig"isms. Everyone was sure sore the next day.
And now, in just seconds, I was going to go on, in my skin tight
white pants, my even MORE skin tight black lycra shirt (I'd succumbed
to Atkin's fever in the weeks preceding this moment so my displacement
might be somewhat more modest), my gold sharkskin tuxedo jacket, my
glitter face mask, and my pencil moustache painted on, like El Vez's, just
for this occasion - to sing the ONE song EVERYONE WAS WAITING FOR! I'd
practised a series of outre gesticulations that would be inexcusable in
any other context, and had taped my phonetic lyrics on a monitor on
case I blanked, and was oddly READY - READY TO SLAY 'EM like a BENGAL
TYGER BURNING BRIGHT!
The intro starts, and my heart is filled with beat and melody,
and I
saunter up to the wireless mike (a first for me - THIS IS THE BIG
TIME!)
and I'm possessed by BOWIE : my arms are spreading to the beat in a
grandiose Ziggy gesture and I'm gonna nail this, and the words are in
my brain
like God's teleprompter, and I open my mouth to sing and my pitch is
perfect
and the world is in my hand to squeeze like a Kahlil Gibran
pomegranate -
AND THE MIKE IS NOT ON! SILENCE! NO VOX! The dancers are swirling
about and the orchestra is raving in a mad vertiginous smear of color
and sound
and my MOMENT is PASSING like an intangible ghost and I'm peering
blindly
helplessly through my glitter face mask at this contemptible new-fangled
buzz-killer,
this, this, this WIRELESS THING and there's a tiny nob on it about the
size of a bat's
fingernail that I GUESS you're supposed to switch on IF YOU CAN FIND
IT and IF
YOU CAN KEEP IT IN FOCUS IN THE DARKNESS ON STAGE and I claw at it
lumberingly with ineffectual play-do digits ( did I TELL you my MOMENT
is
PASSING?!) and I finally get it on and test it and now I don't know
WHERE I AM
in the song and my mind has let go of the lyrics like so much
impenetrable gibberish
and I turn to the Millionaire who catches my gaze sympathetically but
is
enough of a showman to keep swaying rhythmically in his beautiful
embroidered white shift, NO HELP THERE as the song RACES by and ALL is
LOST, LOST! I am a BOOB in my BOWIE GESTURE!
But fortunately, my eye falls on my cheat sheet and I
automatically start bleating hoarsely the nonsense phrases in some
vague concert with the music, and WAIT, I'm catching ON to this, and
the song isn't quite THAT far gone AFTER ALL, and even though I never
quite regain the smooth insinuating Casanova tones that had come so
easily at soundcheck, it's not SO bad, and I'm surrounded by leaping
dancers and the whole cast comes out on stage (just like in"Hair" I
reflect idiotically) and the applause erupts while I'm doing some
suggestive hip shake with Rita and her boyfriend Mark Pritchard, and
afterwards people even come up to me and say my Indian wasn't too bad!
So even though the honor far outweighed the performance, it was a
glorious evening after all, and when they restage it (May 21st if it's
not bumped back), I've been invited back, given an opportunity to
redeem myself - and with my new wireless mike savvy I'm SURE to RULE!
I thought I'd include here my PHONETIC take on these
immortal
Indian Love Lyrics:
John Pay-ay John Hoe
Geena ah-ah sawn hoe
Seala caught you ronny valen
Onk natura oh
Nam too batah oh
And that's only the chorus - there are three more verses,
available upon request!
So on Thursday, April 8, we do the first performance of the
NEW Velvet Hammer show called "Illuminata" directed by Michelle Carr
WITHOUT her longtime partner Rita D'Albert - who parted with some drama
shortly after last year's legendary bus trip back from S.F. which had
resulted in no less than THREE divorces! (Well - some of them turned
out
to be only SEPARATIONS - but it was pretty dramatic at the time -
weeping
CLOWNS and EVERYTHING!)
Expectations are mixed, because though Michelle has long been
known
as the inspiration and innovator for the show (and indeed introduced
this notion of
retro-burlesque to a virgin world, which now seems to have inspired
similarly themed shows in most towns of any size in the western
hemisphere), Rita was perceived as the organizational backbone of the
madly demanding and confusing VH infrastructure. How could one woman
handle this wildly divergent crowd of mini-divas alone? To say nothing
of posters, programs, club owners, transportation, hotel bookings,
advertisers, musicians - I'm getting tired just thinking of it!
So we arrive at the newly buffed and reopened Vine Street
theater
(a lovely 20's rococo themed nightclub that once hosted such luminaries
as Yma Sumac in its incarnation as the Hollywood Palace, then suffered
a slow but steady decay as a rock theater where the Swinging Madisons
had once opened for Sparks) for soundcheck to a buffet of champagne and
strawberries and mini-Reeses buttercups.Of course I'm too "pro" to
drink before
a show, but I know where about a thousand candies went!
I'm pretty excited because the Millionaire has chosen to have the
band do one of MY compositions for the VH documentary by Augusta: "The
Shriek of Araby". We've never done anything I wrote in this band
before, although we do perform the Millionaire's immortal "Ass Tassels"
from the same film, on which recording I got to do an
uncharacteristically gritty organ solo. And having this band (including
Joe Berardi and Ron Sures) do MY song is a giant step up from my
four-track-fake-drums-played-by-hunt-and-peck method original
recording. The sound check goes okay, despite the Millionaire's
typically frazzled over-achiever demeanor.
And then the guest comedian Jeremy Kramer comes out to rehearse
his bit, which has some musical cues I need to pin down.(His
partner, Laura
Kightlinger, has the more stand-up savvy members of the band
cooing in stage whispers"Ooh! She's FAMOUS!" Who knew?) Jeremy was
said to be a bright light of San Francisco comedy during the 90's, at
one point rumoured as being groomed by Robin Williams as his logical
successor. By some obscure series of misadventures, this early promise
did not explode into international success as expected, but now he's
working regularly as a club comic and apparently back on the ascendant.
Now I have a PERSONAL history with Jeremy, because he's from
Santa
Barbara too, and we attended the same schools, and for some years were
quite good friends - especially in high school, where he was the de
rigeur "Graduate" style anti-hero student body president that was
typical of the soft-center upsets that passed for "revolution" in
certain predominantly white upper middle class suburbs in the late
60's/early 70's.
On last year's Velvet Hammer tour he hadn't recognized me -
which didn't bother me, because we probably hadn't seen each other in
25
years (although I think he sporadically ran into one of my brothers). So I reintroduced myself to him, and told him how much I thought
of
him as a legendary character "back in the day", and how nice it was to
see him again, and blah blah blah, and it was all very pleasant even if
it DIDN'T lead to any renewal of friendship vows.
So at this soundcheck, when he came over to me, and started
ordering me around over my shoulder with little in the way of politesse
or expected niceties, I didn't take it amiss - I just thought, like
most of us, he was a perfectionist, and we were gonna make this show
the best we could, and after all, weren't we friends?
After soundcheck I caught him sitting on a couch with the
ever
charming and wonderful Blaine, and they were talking " comedy speak",
which to the outsider can sometimes sound like a series of the most
embarrassingly inane puns and lame 2nd string trivia show pop
references, but I think to comedians is a weirdly spiritual form of
yogic breath control exercise. And I went up to Jeremy, because I
wanted to write some of the finer points of my sound cues in his act
into
my script. He was very patient with me, if a tad condescending, which I
found peculiar - because wasn't I here to make HIM look good? No one
asked ME if I even wanted to do this routine! And as I finished up and
I said "thank-you", which he did NOT, he looked at me quizzically from
his slouching position and said, "By the way, who ARE you?"
I was momentarily dumbfounded, not necessarily because he had
forgotten me AGAIN, but because if he DIDN'T recognize me, there was no
EXCUSE for the imperious way he had been treating me, as if I were some
sort of musical janitor. I guess my reflexes were quicker than my
courtesy, because I said in a light yet intimate tone, "Why Jeremy!
I've known you ALL MY LIFE! I was with you at your second grade
birthday party where you got the Beatles first album! I went all
through school with you and we were practically BEST FRIENDS in High
School! In fact, you must have been to my house FIFTY TIMES!" Jeremy
said nothing for long enough that Blaine couldn't resist an editorial
snort: "BURNT!" which gave me no end of retrospective pleasure. But
soon enough they returned to "comedy speak", and though Jeremy deigned
to stand next to me once on the bus trip to S.F. for about 45 seconds,
it was never brought up again.
However, this in no way reflected on the show, or my experience
of it! It was truly one of the most consistently entertaining and
outright beautiful shows they'd ever put on. The opening act
especially, by the Geishas, started out looking like an otherworldly
Warwick Goble fairytale illustration - magical! And Venus DeMille's
Bride of Frankenstein routine was so beautifully realized, with the
theremin, and the incredible plexiglass and bottled lightening birth
station. Overall, it was a triumph, and the girls seemed even
friendlier than usual. The trip to S.F. was fab, and it's always a
treat to play the Great American Music Hall. The sold-out second show
went
particularly well.
At the after party I even did archaic things that one can't
confess during
a Bush regime, at least not in print. (Nothing that HE hasn't done,
however!)
Although I was pleased to drive back through Fresno in a van
with the
Millionaire, DJ Senor Amor, and Ron Sures so we could drop Mill off at
an in-laws
Easter Party (in an unsettlingly displaced Orange County style
"instant mansion" gated community) and to talk records (and personal
experiences in the world of prostitution - results understandably
varied) with Ron and S. Amor at OUR more pedestrian Marie Callendar's
Easter
meal, I was sorry I missed the girls on the return bus, who this time
(and I'm
not naming names, and WON'T testify in court) apparently ingested an
entire alphabet of controlled mood elevators including the letters X,
L, S,
and D in some sort of Jim Jones concoction, along with whatever
lukewarm liquor
they had left to heighten their post-show love-fest. Sadly, they still
couldn't make out with the (cute) driver, but certain members of the
troupe who
attended Abby's Tangier show showed me the Rhode Island sized purple
bruises
on their nether regions which they had acquired on the drive that
certainly
indicated some sort of (probably illicit) physical interaction. Too
bad we had to miss that!
Back to top
Art Show Opening, Los Angeles
February 27, 2004
I've arrived at my very first solo show art opening
ever in my fabulous purple pimp suit that I got for
$15 at the Atwater "Out of the Closet" thrift store
not knowing what to expect.
The brief history of this event has been a bumpy
one: first it was set for October, but cancelled due
to lack of lead time. Then, as THIS date approached,
the partners in the Silverlake gallery space evidently
had some enormous squabble and split ways with some
rancor. The remaining partner felt uncompelled to
honor the other partner's bookings, especially since
the DEPARTING partner absconded with the booking
calendar and (vague rumour has it) certain undisclosed
sums of some medium of exchange. And OUR booking was
IN THAT VERY BOOKING CALENDAR!
Fortunately, even though the remaining partner
refused to honor the gallery's two week commitment, he
did let us keep our opening night, as the press
releases and invitations had all gone out already. But
it felt faintly vaudevillian to be doing all this mad
framing, rummaging through dusty closets and
portfolios for ancient originals I was certain I still
had, searching my moth eaten phone books for
acquaintances who had works of mine they might consent
to show, and trying to get the souvenir greeting cards
(henceforth to be referred to as "the merch")
lithographed for this blink-and-you'll-miss-it "One
Nite Only" event.
Tom Cannon was the curator, who came to me with
the idea that I mount a one man show of a body of work
I hadn't re-examined or taken seriously for years, and
I was flattered but dubious - I was sure there wasn't
nearly enough work, and who would care anyway, and all
that monstrously predictable self-doubting insecurity
you're supposed to leave in early teenhood along with
pimples and hand-me-downs. And I still constantly get
pimples.
But with Tom's seemingly bizarre faith in me as my
co-pilot, we plunged in and managed to come up with
enough pretty darn fabulous work that even I was
startled - we had all of the drawings from Iris
Berry's "Two Blocks East of Vine" (except the "Pig Man
and Pumpkin Lady" drawing which I believe is in Xenes
closet - she was on tour), most of the Eggbert Hollies
Tribute CD illustrations, pieces from as far back as
"Tales of the Tatterman" (a children's book I
illustrated in the '70s), and a variety of color works
that I'd completely forgotten I'd done. In fact we had
too much to show. Things were looking good.
But, since it was the first time for all of us, we
WERE getting cranky with one another, bitching and
kvetching and making big mistakes with the matt cutter
right up to seven o'clock on opening night. It was
like there were three hundred tasks that we only
realized needed to be done on the day of the show -
like FOLDING the thousand cards that arrived from the
lithographer so we could actually SELL them, picking
up the catering in horrible traffic from downtown,
etc., etc. and me and Tom and his wonderful assistant
whose name I have forgotten had no one to pick on but
each other. Which we did.
So, zero hour grumpily arrives. The lovely tray
of fancy cheeses and fresh berries and salmon pate
swirls donated by star caterer Kash Brouillet (in
whose shortlived band "Kashiselvis" I played a
fantastic gig where we opened for the Gun Club) was
put out, we tried to get the inescapably mainstreamed
rap music OFF the stereo and start MY mix of faves
from the Geranium Pond to the Daughters of Albion
(which was completely inaudible through the evening),
the pictures didn't seem TOO crooked, we'd gotten most
of the cardboard scraps off the floor, and I helped
myself to a stiff reinvigorating drink as my mom,
chauffered by my brother Kaj and his wife Alejandra,
arrive at 7:00 ON THE DOT.
I hover about them nervously for long moments -
and they walk around the room, eyeing the art with
fairly convincing interest and mouthing some bland
rote familial approval my way.
And that's it.
NO ONE ELSE COMES.
Well, my dear friend Rocky Schenck comes,
because he has another early event to rush off to, and
I lean on his shoulder nervously in the empty room,
trying to avoid my Mom's pitying gaze from afar which
intimates: "Oh, Kristian, I DO believe in your talent,
even if, at your advanced age, you haven't managed to
make anyone ELSE believe in it! I, as your loving
mother, DON'T CARE that you gave an art opening and
NOBODY CAME!"
The minutes grudgingly crawl by in the
whitewashed cinderblock art space that seems more
damp, chilly, unwelcoming, and cavernous by the moment
- or maybe it's ME that has just become more FEEBLE
and SMALL. Whose idea was this ANYWAY? Who can I SUE?
Maybe the answer is in that Jack Daniels - but DARN ,
my MOM is watching! Can't you PLEASE JUST KILL ME?
And then, suddenly, at about 8:05 (but who's
counting?) the room EXPLODES with people!
I'm sure the relief lights up my nose like a
clown's, as scores of well-wishers come in waves for
the rest of the evening. I'm never left unattended
again, and am so completely bathed in over the top
compliments from so many people, many of whom were
completely unaware I did anything but tickle the
ivories, that I can't remember anything but the glow.
There is actually a drawn out ugly FIGHT over who gets
to buy "Miami" - a pen and ink line drawing of a portly
rabbit in bathing trunks sunning himself in a beach
chair. That's the kind of fight I LIKE! And the lithos
(or "merch") sell like crazy!
Let's see if I can remember some of the over
200 people that actually showed up (to say nothing of
the many well wishers who called me the next day
saying they hadn't been able to find the place, or
thought it was going to last a couple of weeks):
- Adele "Contortions" Bertei
- Alice "Secretary of the Democratic national Committee" (and Abby Travis' Mom) Germond
- Laurel "Murphy Brown" Greene
- Ellen "The Nanny" Ratner
- Kim "The Strip" Chase
- Matt "Roseanne" Roth
- Patti - fabulous genius - Scanlon, and her husband
Hugh Palmer
- Donita "L7" Sparks
- Tim "Sugarpie" (celebrity Skin, Cramps) Ferris
- Doug "The Hangmen" Cox
- Debbie "Maw and Paw" King
- Todd "The New Women" Hughes
- David "Death in Venice California" Ebersole
- Michael "Monitor/Billy Wisdom and the Hee-Shees"
Uhlenkott
- Mike "I invented Silverlake" Glass
- Erin "Steppenwolf" Quigley
- Christopher "Ads in heavy rotation" Boyer
- Ann "Lotus Lame and the Lame Flames" Mclean
- Alice "Eternal Rock Star- Stay At Home Bomb" Bag
- Steve "geffen theater" Eich
- Howard"the Picture of Everything" Hallis
And that's only the celebutantes I can remember
before the liquid courage got the better of me!
Of course the ever lovely Crystal Ann Lea and her
Rock God husband Jonathan Lea passed by on their way
to see the Zombies to impart good cheer. Andrew
Sandoval and his wonderful wife Wendy fielded
compliments on the album cover I drew for his CD "A
Beautiful Story" (of course to all the raves I got
directed at that work I had to confess it is a
shameless lift - um, reinterpretation? - from a page of
'50s lifestyle rag "Flair".) Iris Berry was there,
signing her book and beaming. Abby Travis was there to
guard the artwork from HER album that so many people
were trying to buy, as well as to shepherd her
wonderful mother Alice who is going to get Bush kicked
out of office come November. I think the Millionaire
(my "boss" in the Velvet Hammer band, leader of
Combustible Edison, etc.) shook my hand and offered
some of his trademark quips, but that was just as I
was entering my grey-out, just the tasteful side of a
blackout where one still SEEMS to be walking,
listening, and capable of rational thought. Ann
Magnuson showed up to give every drawing an earnest
going over - and soon after to have me hired to
illustrate TWO of her monthly "Paper Magazine"
columns. Justin Tanner held my hand through most of
the proceedings. Pat and Bill Loud reaquainted
themselves with my mother.
Arthur Brennan held down
the fort near HIS original Hoffman work "Bindy and
Bradley" which shows Belinda Carlisle cheerily cutting
off then Mayor of L.A. Bradley's head with a surf
board while city hall crumbles under the weight of a
Tsunami - one of MY faves. And on and on.
Unfortunately a little too drunk to be humble at
the success of the evening by this time, I insisted on
posing for surely blackmail-worthy snaps for near
strangers in the suit which I kept telling everyone
was "really purple!" in case they hadn't noticed!
But fortunately I was whisked off to a mysterious
privately owned million dollar tiki-room themed
speakeasy called "The Monkey Bucket" in the nearby
hills for an impromptu afterparty before I could
alienate TOO many people - I THINK!
So, in the warm glow of an incredible array of
Scopetones playing on the video jukebox, to the
lullaby of the waterfall from the jacuzzi by the
imported carved Polynesian columns, I tortured poor
Alice Germond, and by extension Abby, with blowhard
tales of MY mother's peacemaking accomplishments (promising to send her a copy of my Mom's new book
"Compassionate Listening" which I did - thank god) as
the perfect Manhattans flowed and Alice Bag and her
husband Greg and Abby and Matt and Erin and Steve and
Boyer faded into a pinwheel splatter of warm glowing
colors and I WOKE with a START in a strange bed
(alone - THANK GOD) in a wonderfully appointed room in
this grand manse with a private bathroom and my
clothes neatly hung over a chair (how did THAT happen?
And WHO did it?) so I could crawl back into them with
what little shame I had left to go nurse my hangover
with the magic memories of what turned out to be a
fantastically happy event: My first Art Opening.
And the best thing about it IS : Mssrs. Doug and
Johnny Tellez, who run the Eastside Studios Gallery in
Silverlake (4626 Hollywood Blvd. L.A. 90027
Ph: 323-660-7874), came to the show and on the strength
of enjoying themselves (and, apparently, the work) so
immensely, have ALREADY booked me for my MY NEXT ART
SHOW - this coming October! Two shows in one year! I
better run draw something new - I don't think you can
have two "career retrospectives" that close together!
Many many Many thanks to Tom Cannon for
arranging, curating, negotiating, babysitting,
believing, forgiving, mollycoddling, framing, toting,
yelling, and hosting, and to Kista Cook for designing
the lithographed greeting cards whose sales made the
show such a success!
For more Kristian Hoffman illustrations, visit the Illustrations Page.
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2003 DIARIES ARE HERE: diaries2003.htm
2002 DIARIES ARE HERE: diaries2002.htm