Long before Mr. Clean and Magic Sponge promised fewer steps and happy housewives came Harwood’s Sponge Cloth, one of many modern miracle kitchen products offered for the first time in history in the post-war Atomic Age to ladies of the kitchen.  As chemicals developed for warfare or space travel like Teflon were trickling down to pots and pans, linoleum floors and kitchen counters, the Sponge Cloth promised to be a “Sponge and Dishcloth in One!” that “Cleans and Dries in One Stroke!” “Wet•squeeze•use” and for 35¢ lives were changed because now there was more time to run into the next room and enjoy the revolution happening in the living room, television.

I’m always completely intrigued by people who develop a supposedly revolutionary product and then come up with a name like “Sponge Cloth”. Like a wad of mud sliding down the wall of creativity until it hits zero. Smash! A direct hit on the head of the mundane.

I’m sure it’s true that “Millions of Satisfied Users” lost muscle mass because of the minimal arm movement involved in operating the Sponge Cloth.

I just hope it cleaned better than it aged:

The photo actually makes the Sponge Cloth look like a normal scouring pad but in reality it looks much more like stale matzoh or a piece of insulation than it does either a sponge or a cloth.

I always love when a product refers to itself as “amazing” and promises HUNDREDS of uses or, in the case of the Sponge Cloth, “a Hundred Uses” on the nose.

Does that mean that the Sponge Cloth can be used 100 times or are there 100 different ways to use it? If the latter, The Harwood Company of Farmingdale, New Jersey could have gotten a little more imaginative on the big three than ‘wash’, ‘wipe dry’ and ‘polish’.  But, then again, it’s the Sponge Cloth. Same guy working on the art direction as the name.

As much as I disparage the Sponge Cloth, if it really was a cloth that cleaned and dried in one stroke I wish I had found a case of them instead of just one. And didn’t wait 60 years to use them.

Cheap jewelry is always a popular breeding ground for Kitsch. Kitsch glitz  shines especially bright when designs are made to capitalize on popular trends such as the streaking craze that began in the 1960’s and attained astronomical heights when a peace signing streaker crashed the 1974 Academy Awards blazing behind actor David Niven. From that point on, streaking was  as glorified in all forms of design, from T-shirts to decals to plaster figurines to the kind of tacky finery you see here.

If the people who practiced the sport had incredible bodies it would make for fine spectator fare but usually it’s just some attention starved paunchy dude with a severe “shortcoming”.

Also, most streakers were/are male so curious they chose a female to be immortalized here. So very 1970’s Woman’s Lib.

Last night was the closing of The First National Tour of my musical, The Color Purple.  I had never written a musical before, hardly ever went to see them.  I’m an all-the-way Pop Culture gal and for me this was a medium from ancient times with way too histrionic sounding songs and singers frozen in time.  I was the least likely person in the world to write a musical but write one I did, with Brenda Russell, Stephen Bray and Marsha Norman. We were nominated for 11 Tony’s.  How we even won one, the brilliant LaChanze for Best Actress, was a miracle in the climate on Broadway. (Don’t get me started on that one…). Beyond being eternally proud of the work, especially the uplifting and joyous effect it had on audiences night after night, the most stunning part of the journey was the family of friends I made through the Broadway run and the ensuing national tour.  Right from the beginning when we started writing Purple in 2001 I always heard that  there’s constant bickering among everyone but we were all really friends.  And I mean everyone, from Alice Walker, the Pulitzer prize winning author of the novel, down through us authors, the cast, director, producers, hair, makeup, wigs, production managers, everyone.  I was always being told by other friends who had written for Broadway that by the end no one would ever talk to each other and that so many writers of so many shows, because the experience takes years and is so intense, never end up  speaking unless they write another show and then it’s just about work. Our case always was and remains different. This is a family that will be together forever, bound by an experience where the piece itself was bigger than any one part. Everyone felt chosen and blessed to be a part of The Color Purple. Fantasia WAS Celie.  Watching that journey of her finding herself through this character was a joy and a privilege. Every cast member, starting with the staggering Felicia P. Fields, Tony nominated for Sofia and the first actor we ever cast in 2003, was not only a triple threat – brilliant singers, actors AND dancers, a rare enough find in one person let alone an entire cast – they were a gift for any artist to have interpret their work.

One of the key lines of the show is when Shug Avery says to Celie, “I think it piss God off if anyone walk past the color purple in a field and not notice it. He say look what I made for you!”   Life is all around us. The blessed ones among us understand that the real gift is fantastic friends, a glorious sky over our heads, birds singin and the fact that we’re here at all. I thank every single person in this photo for a fantastic five years. I look forward to more in another space and time. We all know we’re together always.

With Gary Griffin, our director, Fantasia and the Celie doll with cornrows and real wardrobe that Hair and Makeup made me after my Sound Of Soul party last week.

With my co-composers and lyricists, Stephen Bray, Brenda Russell, and Wayne Linsey, who played keyboards on all our original demos for The Color Purple.

I’ll be waving one of these  all day and night today as these are the final two performances of the First National Tour of my musical, The Color Purple. The  whole 4-1/2 years I was writing this with Brenda Russell and Stephen Bray we waved these church fans and others from my collection of 60 from the 1950’s and ’60’s daily. I’ve been stuck on songs before but being stuck on a song for a musical when one has to consider way more then the singer or the content of the song like the plot, which we were writing at the same time as the songs, the dialogue, whether something should be musicalized or spoken, is there dancing to it or not, does the wig guy have enough time to make the wig changes, on and ever-increasingly on…, let me tell you the sweat pours down and these church fans, totally organic to what we were writing other than a couple decades too late, came in mighty handy.

As a passionate collector, I love things to be very organic. In its simplest form, if you find a poster for an album you need to collect the album and anything else related to that group of recording sessions. I had collected my church fans for years but I never had more organic moments then when Alice Walker, the Pulitzer prize-winning author of The Color Purple novel, would fly into LA  every few months to listen to our progress and curl up in a fetal position in my Chromcraft purple lounger, close her eyes and listen to the new songs, smiling as wide as a mile while waving one of the fans, a different one each time, of course.

Today I wave my final two fans, one at the matinee and one at the evening performance. I’ll say goodbye to Fantasia who made an absolutely and insanely stellar Celie (along with LaChanze, Jeanette Bayardelle and our other wonderful Celies along the way since we opened on Broadway in 2005).  I’ll say goodbye to the rest of our glorious cast, many of whom are from the original Broadway cast, not the least of which is Felicia P. Fields aka Sofia, the first actor we cast in 2003. Rumor has it that tons of actors from the original cast are showing up tonight and will be in the final show along with the tour cast. If both of my hands aren’t gripping Kleenex this is the fan I’ll be waving. One last time…

… until the second national tour begins in two weeks. That will be a total surprise as I’ve never seen the production or met any of the cast. But I’ll be sure to have my fans in tow when I do.

Fantasia as Celie. Fantastic cast, many from the original Broadway production. Five years of my life into the making of this baby. I’m very proud of it. If you’re in LA come to the Pantages.

A day late but Happy belated Martin Luther King Day! This bulging butterscotch keychain goes with me everywhere I go.

A black power statuette raising his fist in pride but when you pull him outta the box he’s a white man…! This is one of the greatest examples of Soul Kitsch in my collection. So perfect a product in the late 60’s for a market that had long been under-served in terms of ubiquitous pop culture memorabilia. But like The Supremes White Bread and Touch O’ Soul “Off-Black” pantyhose featured earlier in this blog, and boasting on the box that it’s a “Equality- Justice statuette”, couldn’t the product manager have spent a few more minutes thinking about his target audience and poured a little tan tint into the resin before locking down the molds?

Made of “sturdy plastic with base tab” (whatever a base tab is), The Black Power Statuette was manufactured by Zap-Co of Roseville, Michigan.

Popular causes have always been prime breeding ground for Kitsch but none so powerful as the first wave of products that spin out of these Pop Culture phenomenon. Both Libby The Lovely Liberated Lady and the Do-It-Yourself Coloring Kit Black Power Statuette are two such statements from burgeoning Civil Rights movements in the 1960s and ’70s when these folks were expressing themselves freely among the masses for the first time.

Unintentionally Kitsch, the best kind, these qualify as Kitsch treasures for two different reasons. Libby because she took on THE characteristic of the oppressor she was attempting to free herself from and the Black Power Statuette because whoever his product manager was was too cheap to spend the extra pennies to add a little tan color to the resin. Power to the Kitsch people!

I have tons of MLK memorabilia – busts, rugs, pens, cufflinks, ashtrays – but this book of matches is one of my favorites. Comes in a matching set with Jackie Robinson, Mahalia Jackson, Dr. Ralph J. Bunche, Lorraine Hansberry, Zora Neale Hurston, Paul Laurence Dunbar and Bill Pickett.

I, thankfully, have found three sets of these over the years so have slowly struck the first MLK, © 1976 Universal Match Series 1, which is down to three matches and counting.

A couple of weeks ago I featured the world’s happiest gal dancing to my song “Neutron Dance”. Now, the Krown Princess of Kitsch Khoreography turns her attention to the sweeping horns and strings and theatrical chorus melody of another one of my most danced-to songs. Black leather against backlit drapes encourages an even more dramatic performance, made exceptionally special by how the dancer’s mouth moves aggressively though rarely quite mouthing the words. Other favorite aspects of the performance are the freeze poses and excellent recovery from a stumble in the first chorus. The moves in the instrumental are especially impressive. Kudos from the author to this Neutron Dancer in Boogie Wonderland!