I’m not really a collector of vintage presidential plates. The only other ones I have, a few Jack and Jackie Kennedy ones, crept in more because of hairdos and fashion sense than for their stature as the First Couple of the United States. But every Eisenhower plate I’ve ever stumbled across has some tragic art department flaw.  Like no one ever approved the plates once they were finished or there’s no way they could have escaped the fact that something was always magnificently wrong with the skin color of the couple who occupied the White House right before the Kennedys, Dwight and Mamie Eisenhower, President and First Lady of the United States from 1952 to 59.  Here they look like corpses:

A slight adjustment on color and at least it wouldn’t look like the Eisenhower’s had butter and pancake syrup running through their veins as opposed to real blood that would have forced a more natural skin tone.

Here it almost looks as if the Eisenhower’s race has changed:

Upon closer look, it looks like  the art director matched the skin texture of a potato rather than a human being:

My absolute favorite depiction of the Eisenhowers on ceramic is this plate where it looks like they have grown an extra head:

Upon closer  inspection, it looks like a second head was stamped on just as the plate was beginning to move down the assembly line, as if their faces were on little springs and actively popping out of their heads.

Sometimes you look at a President and you get inspired because you think anyone can become whatever they want if they just dedicate themselves enough. But these Eisenhower presidential plates inspire me in a totally different way. It tells me that even if you’re the President, kitsch can happen to you. But the good news is that, for one, this American citizen has taken much more interest this particular President than she ever would have had his skin been in better condition.

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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.

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If ever there were a garden for 2010 with no water required, no gardening bills to pay and always picture perfect plumage on well-sculpted almost-topiary-but-without-the-cute-animals tree/bushes this would be it.

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As Kitschmeister General I love, love, love the San Fernando Valley, just inches from the center of Hollywood and pumped full of Kitsch like a buffet line at Trader Vics. This is the first in a series of short films I’m making glorifying the Kitsch monuments that abound around me for bigisgood.tv. Part 1 features everything from Roman architecture and giant submarine sandwiches to clowns, frog families, volcanoes, giant fish, horses, shoe cars and very happy houses.

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This is a product worthy of an Oscar for Best Kitsch, a fake wood cardboard stand-up “plaque” that looks suspiciously like the piece of  cardboard that comes with any cheap picture frame, stapled on, staples askew, emblazoned with a cheap gold embossed sticker with three imprints, none of which have anything to do with the Academy Awards other than a trophy atopped with a nude female athlete that kinda sorta is in that Oscar trophy pose.

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A plethora of pies hit the green.

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I love sculptures like this, especially when they’re crafted by mechanics and stuck out on the street in front of their shops. I’m assuming that “Mofles” means muffler in some language. If not, there’s more that I love about this place than just the metal foliage.

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A more appropriate title for this ultimate kitsch rendition of The Carpenters legendary “Rainy Days And Mondays” is “Raining Or Not, I Can’t Find the Key”. The problem with the stupefyingly scale-jumping Leo isn’t his voice so much as his ears. He slips over and under keys faster than a greased cat, consistent in his own musical universe thousands of miles beneath the melody only to rise like a phoenix into an entirely different melodic universe drenched in its own never-before-heard key. To be fair, there are actually two bars where Leo sings in the right key. Unfortunately they don’t follow each other.

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Brand new Pigmy Will video, as sophisticated  as ever!

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It was the 21st night of September, the opening line of my very first hit song as well as the date of the grand opening party at LA’s Ghettogloss celebrating the launch of AWMoK.com, The Allee Willis Museum Of Kitsch, my mini social network and ongoing exhibit of all things Kitsch. I am SO NOT the type to get up at a party and perform my own songs but this was the night that tradition broke.

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