Dolly in San Diego and Hollywood

I normally don’t get too affected by celebrity deaths, but Dolly Parton was an exception. She was one of a kind who could have inspired the phrase about breaking the mold. She could sing, write, and act, and had a personality that EVERYONE adored. Somehow, she also managed to keep her private life private, holding rude interviewers at bay with a witty quip and a smile. Despite patterning her look after the town tramp, she gave off a warm approachable vibe that made people feel as if they had known her for years. Another rare quality was her ability to be positive. ALL THE TIME. Instead of complaining about politics or griping about people, she did what one should: keep your mouth shut, be a good example, and do what is humanly possible and let the rest go. Too often the armchair critics just sit back and bitch about the state of affairs; not Dolly. She put her money where her mouth was and used it for good, creating libraries for kids, helping underprivileged neighborhoods, donating for medical research, and so many other worthwhile philanthropic efforts that have probably gone under the radar. When I was getting my haircut the other day, I was reminded that there was a Dolly Parton mural in Normal Heights, by Sharky and Hassler outside Avalon Tattoo. From the Earthly Excursions website:

Avalon Tattoo’s owner commissioned the mural because he viewed Dolly as the quintessential American success story. She was a performer who rose from poverty and humble beginnings, and remained incredibly generous, authentic, and relatable to ordinary people. He later added the eagle and stars himself as a personal tribute to her.



My first introduction to Dolly was in 1977 with her song, “Here You Come Again.” One of the rare Parton hits that she didn’t write herself, it still packed a wallop, as she conveyed the emotion of someone falling in love with the wrong kind of person but not being able to help herself. Who hasn’t gone through that?!? After that, “9 to 5” (1980) was her breakout first role in the movies, captivating audiences with her portrayal of the “dumb blonde” who was anything but dumb. Despite looking like the town tramp, Dolly was a smart businesswoman who was able to use street smarts to outwit the fools who couldn’t see beyond the stereotype.



I was fortunate enough to see Dolly perform in San Diego at Humphreys by the Bay, August 1, 2008. I was impressed that despite being tiny in height, she was still able to radiate her gigantic warm energy to the audience and make them feel like she was singing to each and every one of them.

On September 13, 2008, I was asked to be part of the Dollypop! exhibit at the World of Wonder storefront gallery on Hollywood Boulevard. I LOVED being part of these popup gallery exhibits, which typically consisted of an email, “Hey, we have an exhibit coming up about _____; want to be part of it?”



I created this 3' x 3' painting using images from the fantasty/revenge sequences of “9 to 5.” It hangs in my office to this day; entertaining serious offers if anyone is interested.



Me on the left, looking appropriately dorky at the exhibit with co-curator Steven Corfe (right) and my friend Gene (center):



Marc Malkin was the other curator:



Although Dolly didn’t attend, there was an impersonator:



The other painting I created for the exhibit was “Dolly of the Caribbean,” creating a mashup of two of my favorite things. 24" x 36", I think I still have this…but haven’t located it yet. If I still have it, I might retool it a bit before offering it for sale.



Dolly left many amazing projects behind to still be carried out. Most importantly, I hope her legacy of laughter, positivity, and ability to get good things done can continue to inspire others. It would be almost too easy to ask oneself, “What would Dolly do?”

See more Normal Heights/Adams Avenue photos at my main website.

Coyote in Coronado

I semi-regularly check back to the Village Theater in Coronado to see what’s playing; my positive experiences at this place have gotten me back to the theater after years of rarely going to the movies in person. Just the thought of driving to a mall and navigating the mall multi-plex parking lots is enough of a deterrent to keep me away. Not so at The Village. This time, the drawing card was “Coyote vs. Acme,” a film with a stormy background that almost didn’t see the light of day.



On a side note, the popcorn is good, too, served by a very friendly staff member. The medium size would be large enough for two.



The Village has three separate screens. This time, I was able to experience #3. Like the other two, it feels magical, with murals of Balboa Park, deco styling, and CLEAN!





The movie: apparently, after it was completed, Warner decided to shelve it and use it as a tax write-off. Three years later, it finally hit the big screen. I have no idea why this film would have been buried, although usually in Hollywood at the big studios it comes down to money. I have heard it described as a cross between “Who Framed Roger Rabbit?” and “Erin Brockovich,” and I would say that’s a very good description. Pretty much all the Looney Tune characters are on hand, and I found myself laughing out loud frequently in the first half of the film. The situations in that portion are creative, well-written, and keep in line with the spirit of the original Warner cartoons. Once the courtroom portions begin, the film loses a bit of gas, and becomes a bit more predictable and preachy. I would still recommend it, but would have to give the first part an A+ and the last half closer to a C+.



My other goal of the evening was to try the Night & Day Café located just across the street. This late-night hangout closes at 10pm on Thursday nights, and I sailed in at 9:30pm. Unlike many other restaurants in town, I did not get the death look. Instead I was warmly welcomed and immediately seated at the counter.



It’s a true authentic diner. Just take a look at the counter and the grill.



I will def do this on my next visit:



It’s a tad dark in here, but it fits perfectly with the vibe, which I would say is akin to the 1942 Edward Hopper painting, Nighthawks.





My Beef Chimichanga was DELICIOUS. The large portion will serve as my lunch today!



I will definitely be returning to both places; I love neighborhoods where you can have a perfect evening without driving all over, and that definitely describes Coronado Island.
 
See more Coronado Island photos at my main website.

Even More Marilyn at the Academy

Who would have thought that a backwoods country singer could unite the world through her love, talent, and infectious joy? That's exactly what Dolly Parton did, and while I plan on doing a tribute post for her, there was just not enough time for me this morning to do it right, so instead, you get more Marilyn Monroe from the Academy exhibit in Los Angeles. Two dresses from one of my very favorite Monroe flicks, “Some Like it Hot” (1959) were on display together.



Designed by Orry-Kelly, they both appear to be original (other than the shoes), based on the nearby placard:

Marilyn Monroe’s work in director Billy Wilder’s “Some Like It Hot” is often cited as her best. The film was controversial for its racy humor and story about two musicians (Tony Curtis and Jack Lemmon) who disguise themselves as women to evade the Mafia. But of equal scandal were the Oscar-winning costumes by Orry-Kelly for Monroe’s Sugar “Kane” Kowalczyk. These two dresses feature carefully placed beading and sequins so that when shot in black and white, Monroe appeared partially nude.



Silk, sequins, and chiffon never looked so good. Here’s a color publicity still showing Monroe in the outfit:



This one is probably my favorite outfit she wears in the film. The amount of detail in the sequins for something that would barely be able to be seen on screen is astonishing.



Marilyn wearing the dress. At the bottom of the photo, you can see my very favorite detail - a heart on her left butt cheek:



I wonder how many people who watched the movie even caught this little detail? While Monroe looked fabulous in black and white, seeing this costume in person in full color gives one an even deeper appreciation for the craftsmanship that went into it.



Monroe and Curtis between takes:



As I approached the legendary “Seven Year Itch” (1955) subway dress, I wondered…could this be the real thing? Well, kind of, but not really.

This replica was made by the original costume designer William Travilla. He often made close copies of his most iconic film looks for publicity purposes. This version has the belt secured in the middle. For the original costume, Monroe tied the belt to the side.



Tied front and center:



As seen in the film (with Tom Ewell), tied to the side. Much better! Good choice, Marilyn!



Final outfit for today is from “Bus Stop” (1956). All original EXCEPT for the shoes, tights, and gloves.

“Bus Stop” marked a turning point in Marilyn Monroe’s career. She had recently formed Marilyn Monroe Productions and signed a new contract with Twentieth Century-Fox that gave her a higher salary and more creative agency. This design by William Travilla supported Monroe’s performance as saloon singer Chérie, who dreams of one day making it big in Hollywood. Monroe learned an Arkansas accent for the role. She asked Travilla to tone down the glamour used for her costumes in previous roles to better suit Chérie.



Monroe wearing this outfit on the larger-than-life marquee in front of Grauman’s on Hollywood Boulevard:



If you haven’t seen it yet, you have until February 28, 2027. Don’t put off for tomorrow what you can do today!

See more Academy Museum photos at my main website.