Steve Balderson Lives in Kansas

Film maker Steve Balderson was raised in Wamego, Kansas until the age of twelve, when his family moved to Manhattan, Kansas. He attended Manhatten High School and graduated a semester early, ahead of his peers. He refused to walk to the stage and accept his diploma, opting out of the graduation ceremony altogether. The administration asked if he would like his diploma mailed to him. He responded, "I'll never need it."

Balderson attended film school at California Institute of the Arts, where he directed six full-length digital movies. After months of working one-on-one with his dean, Steve decided he was ready to leave CalArts without graduating.

After leaving CalArts in 1996, Steve returned to Kansas and directed his debut feature film. 'Pep Squad' satirized and predicted American school violence prior to the horrific series of school shootings. After the era of school violence ended in the United States, 'Pep Squad' was released on DVD. In November 2009, Steve sold distribution rights for 'Pep Squad' and it will be re-released this year.

Balderson’s award-winning second feature film, 'Firecracker,' starring Karen Black was released theatrically in 2005 to sold out audiences in a first-ever "Freak Show Tour" supervised by Landmark Theatres, the nation’s largest art house chain. Preeminent film critic Roger Ebert called it "Brilliant" and named 'Firecracker' on his list of the year's best films.

'Firecracker' premiered at London’s Raindance Film Festival, to sold out crowds, where it won a Jury Prize nomination for Best Picture. It also won numerous awards on the festival circuit worldwide including: Best Picture, Best Cinematography, Best Actress for Karen Black, and Steve Balderson won the 2005 Domani Vision Award for emerging talent at Tribeca’s Visionfest.
Balderson's next film 'Watch Out' premiered at the Raindance Film Festival in London as well.

'Watch Out' is the story of Jonathan Barrows, a man who falls in love with himself. He is attracted to his own body, carries out an erotic relationship with a blow-up doll that resembles him, and takes pleasure in rejecting the advances of male and female admirers. He descends into a world of carnivorous priests and Prozac-popping Polish prostitutes and eventually assassinates the world's most popular pop diva. Sounds fun doesn't it?

'Stuck!' is Steve Balderson’s homage to film noir women-in-prison films. The movie, photographed in black and white, was produced in Macon, Georgia, during April and May of 2009. Again 'Stuck!' premiered at the 2009 Raindance Film Festival in London, England. Currently on the festival circuit, the film is an official selection of the 2010 Macon Film Festival and the 2010 Boston Underground Film Festival.

Balderson’s attention to detail and strong work ethic is chronicled in the award-winning documentary series WAMEGO. Wamego: Making Movies Anywhere was released in 2004 on DVD, Making Movies Anywhere won Best Film at the 2005 Fox Film Festival and the 2004 Kan Festival Award. Wamego Strikes Back, the sequel to Making Movies Anywhere, was released in 2007. The third installment, Wamego: Ultimatum chronicles the making of Watch Out.

Steve Balderson was in Los Angeles this past week for the premiere of 'Stuck!' at the Egyptian Theater. Richard Levi and I were lucky enough to get a few minutes to hang out with Steve to talk about his career and get some new photos. He is humorous and down to earth, the way people from Kansas tend to be. He is also a very talented film maker that I am pleased to showcase on this blog.

AM: The first thing that comes to mind when I think of you is that you live in Kansas! What do you have to say about that?

SB: (laughing) I grew up there. I started making movies there when I was very young. I went to CalArts school out here in Los Angeles. They would give us assignments like go make a short and I always pictured places in Kansas. I would always fly home to do my projects and then fly back three or four weeks later to deliver them. The teachers would ask me where I had been since I hadn't been to class for weeks. I told them I was doing my work. I just kept this up so after I got out of school I moved back home and made my first film there.

AM: I bet making a movie in Kansas is a lot different.

SB: I grew up in a really small town of 4500 people so you can close streets off and nobody cares. There was an explosion in my first film so we called the fire department to see if they wanted to come out and they said well you know what you're doing. That would never happen here. Because it was so easy and so much cheaper we thought we could make a million dollar film for a hundred thousand dollars, so let's do that! We did that two or three times and it worked. 'Stuck!' is the first film I have made outside of Kansas.

AM: Where did you shoot it?

SB: In Macon, Georgia. Have you been to Macon?

AM: No but I have been to Georgia. What brought you to Macon?

SB: There was a film festival that honored Karen Black last year and they showed "Firecracker" so they flew me out to present the film with her. It reminded me of my hometown. It's much bigger, but it had that easy to get around town feeling. You can drive anywhere in five minutes. The people that I met were inter-connected so that if you needed something there was a network of people that could help you do that.

AM: What else did you like about Macon?

SB: They also had a bunch of gorgeous abandoned buildings. There is also a prison there. I needed to build a set because half the film is shot in a prison and the other half on the set. I needed this big empty space and my town didn't have that. So I thought I should just shoot in Macon. That is how it came about.

AM: Did you have a bigger budget for this film?

SB: Actually there was even less than my other films, but what I figured out how to do is, I operate the camera and do all the lighting myself, so I omitted some people on the crew. What I actually found is if it's just me, a sound guy, and maybe three people to help there is only five people on the crew and it is awesome. We get stuff done fast. We were two days ahead of schedule by the end. It was fun. Another thing about a small crew and only five actresses is there is only ten people so you can go to someone's house for dinner. They can donate a meal for your set.

RL: It becomes a much more intimate experience.

SB: Totally. Where as my other films had 45 people on the crew and it took six weeks to film. It was a production.

AM: You made a documentary, "Wamego: Making movies Anywhere" about the making of "Firecracker" which I have seen, thanks to you.

SB: We made a trilogy out of it. You need to see the other two.

AM: I really love that documentary and I have showed it to a lot of people who love it. It's really inspiring.

SB: Cool. Thank you.

AM: Do you plan on making movies like this forever?

SB: I do.

AM: You're not interested in million dollar budgets?

SB: If someone approaches me to direct a script I say, "If you are hiring me to be a director then I have a particular job and focus. I can do that for you. If you want me to take it on and produce it the way I know how to do it then it's a whole different thing. I don't usually get paid when I make my movies so I try to keep every dollar as low as I can. If somebody else wants to spend a million bucks on a movie and hire me then great. I'll do it. I'd love too. I've been reading about John Cassavettes and he would do that. He would work and do a big movie and then make one of his own for two hundred bucks. I kind of like that.

AM: I want to ask you about a rather controversial film you made called "Watch Out." How did that go over for you and how did the public react?

SB: It was interesting. It was sort of a test for me. It was at the point in my career when I was thinking can I really do a movie with five people? I wanted a movie that was an easier production. I thought this would be a good experiment to see if that would work. At the same time I was fed up with how the system works. I wanted to be loud, obnoxious and in your face. It was a lot of fun making it. Then when it came out the reaction was split right down the middle. To fifty percent of the people it was the greatest thing they've ever seen and the other fifty percent were walking out of the theater and throwing things at it. It's a hard movie.

RL: You got a reaction.

SB: I think that's pretty cool.

AM: I do too. Do you plan on making more movies in that style that is controversial where you might alienate fifty percent of your audience?

SB: I do, not that in your face, but I do have other projects I'm thinking about doing that are on the back burner. I tell other film makers if you want a movie to stand out you have to do something unique whether it is loud, unusual, in your face, there has to be something that sets you apart and is contrary to what everyone else is doing. I don't want to do John Waters and be shocking but I think it needs to be loud enough that people will hear it.

AM: Do you notice that you are gaining more of a reputation and more awareness of your films?

SB: Sometimes. I try to monitor people who have ordered the products from our web site or from Amazon or anywhere else. I try to make sure the mailing list is growing. I want people to still be showing interest. It kind of freaks me out sometimes, but it's good.

AM: Do you have a lot of fans?

SB: I read this article once in WIRED magazine that talked about having one thousand true fans. It stated that if you had one thousand true fans that would spend a hundred bucks a year on you then you would make a hundred thousand dollars. You don't need a million fans. You have to find your niche' and keep building that. That's what I am trying to do.

AM: I notice you work with Karen Black a lot. Is she a muse for you?

SB: I don't know if I would say she is my muse, but I when we were shooting in Macon and it was her on the bed doing this scene and me with the camera and a sound guy with only us three in the room, I looked up and I had this vision of being back in high school with just a couple friends making a movie. The only difference now was I was with people who respected their craft. It was like going out and having fun but you were making something and treating it with respect. I looked at her and said, "Karen isn't this awesome?" Karen is so great that when I am working with her, everything she does is awesome the first time she does it. She is perfect. It's not grueling at all. It is a lot of fun working with her.

AM: Do you have your next film lined up?

SB: I have a couple coming up. One is about a group of women who have a recipe club that turns into wife swapping and damaged people. I'm so excited about having something mid-century in Palm Springs with Pucci swimsuits and high heels, just those colors. Then to tell a story that is "Valley of the Dolls" heavy.

AM: Where will you film that?

SB: I'm not sure. I'm thinking I should shoot it in Palm Springs. You can rent a house for a couple of weeks and just stay in it while you film. The crew can just stay there too. It would be really fun I think.

AM: What's the other one?

SB: The other one is a screw ball comedy loosely based on my family set at Christmas with a dead body. It's more of a farce and real fun. It's ridiculous.

AM:: All your films, even if they aren't labeled a comedy, still have humor.

SB: They do. I think it's important to have the up and down. If you want to make something really sad you've got to give the audience a place to laugh before hand or afterwards. If it's all sad it gets sort of dull. You need that break. I want to do every genre I think. I want to do a proper Western, a psychological Horror film, and a true Science Fiction film just to see how it feels to make movies of different kinds and styles I'm not familiar with, just because I like the challenge it presents.

AM: Is your family still involved with your film making?

SB: A little bit. The last couple of projects I did my Dad didn't co-produce with me but he was still there to help me do things like taxes and paper work. We see each other everyday so they hear me venting about it over lunch. I like learning how to be totally independent in that way.

AM: Are you going to stay living in Kansas?

SB: I will have a place there always. I have recently been thinking about living other places part time like Paris or New York. I like traveling. The one good thing about Kansas is that you can live really well for very little money.

RL: Are you the only film maker in Kansas?

SB: There are four of us that I know of.

AM: Do you all know each other?

SB: Yes we do. There is one in Wichita and two in Lawrence and one in Kansas City.

RL: What is the film industry like in Kansas?

SB: Kansas City has a lot of commercial work but it may be all regional. Every now and again there may be a movie that comes through that people will get a chance to work on but there's not a system. If you were a gaffer you wouldn't want to be in Kansas.

AM: I think it really lends to a unique persona for you. I think it's a calling card.

SB: It totally is. I can call anyone and say this is Steve Balderson in Kansas and they say of course. They know exactly who it is because no one else is calling from Kansas. The funny part about that is I can't show my movies locally. (lots of laughter)

photos: Alan Mercer

To learn more about Steve Balderson visit his web site http://www.dikenga.com/

Farewell Lovely Jean Simmons

I just heard the sad news that Jean Simmons passed away yesterday at the age of 80. Six years ago I received a phone call from her agent. She was looking to take some new photos. They were interviewing photographers and looking at their portfolios to choose just the right person for the job. I was thrilled to be considered.

I went to the office in Culver City for my appointment and saw several "hip" photographers with slick portfolios looking very important. I only had a few photographs in an envelop to show the Hollywood Icon. I was still relatively new in Los Angeles and hoped that my work would be good enough to make up for my lack of flashy presentation.

I was called into the office to meet the legendary Miss Simmons. There was excitement in the air as I really wanted this job. I knew in my heart that I was the right photographer for her. I would be able to capture her legendary beauty the way she was meant to be captured. We were introduced as I pulled out some photographs, spreading them on the table in front of us. She instantly remarked that FINALLY she was seeing some photos she liked! I started to feel more relaxed at this point. Within a couple of minutes I had the job. I remember feeling so happy because I knew I was the one meant for this assignment.

A week later I photographed Miss Simmons at her home in Santa Monica. She couldn't have cared less about being a glamour girl but she knew I wanted to get a shot like that so she graciously found an old fur and suggested we use that for the look. Within a few minutes we had our shot and she was free to go on about her day. She appreciated this. We did enjoy hot tea and biscuits afterwards. I visited her a couple of times after that and sent birthday cards these last few years.

I have a beautiful framed 11x14 portrait of this shot that Jean Simmons autographed for me, "Dear Alan, Thank you for making magic. It was great fun. Fond love, Jean Simmons"
Now I say thank you Miss Jean Simmons for knowing I was the right photographer for you. "You created magic in my life and it was great fun!"

Linda Gray Can Do It All

photos: Alan Mercer

hair: Patrick Jagaille
make-up: Jai Lone
lighting: Eric Venturo
assistant: Richard Levi
assistant: Kristen Moser

Linda Gray is an award winning actress, an accomplished director, a former United Nations Ambassador and one of the world’s most recognized and admired stars. She is also one of the most beautiful stars of any time.

Her award winning portrayal of ‘Sue Ellen’, in the legendary TV phenomenon DALLAS, brought her international fame and critical acclaim, earning her an Emmy nomination for Best Actress, Germany’s Bambi Award (which is equivalent to the United States Academy Award), Italy’s Il Gato for Best Actress on television, and she was voted Woman of the Year from the Hollywood and Radio Television Society. After eleven unrivaled years on television, DALLAS is still in syndication around the world and still enthralling audiences. It was during this time that Linda made her directorial debut on DALLAS, gaining experience working as a director on the show.

In the mid-90’s Linda starred in a series of television fact-based movies for NBC, including WHY MY DAUGHTER?, THE GAYLE MOFFIT STORY and BROKEN PLEDGES: THE EILEEN STEVENS STORY, as well as numerous other television movie. Linda guest starred in the CBS hit TV series TOUCHED BY AN ANGEL. She took part in the CBS environmental special, WHAT ABOUT ME … I’M ONLY THREE, which was particularly meaningful to her as she is actively involved in world conservation and environmental issues.

She also guest starred as Heather Locklear’s mother in Aaron Spelling’s MELROSE PLACE, and also starred in Spelling’s TV series MODELS, INC. Linda reprised her role as ‘Sue Ellen’ in the CBS-TV movie DALLAS: JR RETURNS, re-uniting her with Larry Hagman and once again taking them to the top of the TV ratings around the world.

Among the projects that Linda executive produced, she was most proud of the two-hour community cable program, SANTA MONICA: A COMMUNITY CARES. This was a joint venture between the Director’s Guild of American and the City of Santa Monica cable television, City TV.

When it became clear that I would be working with Linda Gray there was a wave of excitement in the air. It is widely known that she is one of the classiest and nicest ladies in the business. She did not let us down. Her beauty is truly from the inside out. Our photo session was fun for all of us. Linda even called me up a couple of days later to say she had a great time shooting and hanging out.

AM: Hi Linda. I know you just made a film. What is the name of this new movie?

LG: I think it has been re-titled 'Expecting Mary.'

AM: Did you enjoy working on this film?

LG: It was such a joy to go to work everyday, which is rare in any job. To say, "I can't wait to go to work." The hours were very long. It was very hot.

AM: When did you shoot?

LG: We shot the film in August. We had a funny scene with a little pig named Georgiou. We were supposed to walk with the pig, but it was so hot the humane society wouldn't let her little feet touch the ground, because it was too hot. The script had to be re-written so that I am carrying Georgiou.

AM: What kind of character has a pig?

LG: Well Darnella does. Don't you love her name? Darnella is fabulous. That is the character I play. She is a former showgirl from Las Vegas. She was in Las Vegas during the time of showgirls. Back when they had clothes on more like a bathing suit. They would hold their arms out and they had feathers. They just walked around and looked pretty. Then Las Vegas changed to this topless and bottomless place. It was too much for Darnella. Time was moving in a different direction. She lost her job and now she lives in a trailer park in New Mexico where her next door neighbor, played by Cloris Leachman, raises pigs.

AM: Are there some other name actors in the movie?

LG: The owner of the trailer park is Della Reese. The woman who owns the Indian Casino where Darnella performs now on a stage the size of a table is Lainie Kazan. She has a man who is sweet on her played by Elliot Gould. Then a young girl, who I adore in real life, is played by Olesya Rulin, who was in all the High School Musical movies. She ends up in this trailer park and Darnella welcomes her in to take care of her. Her father is played by Gene Simmons of the rock group KISS. Her mother is played by Cybill Shepherd. So we have this pregnant young girl hanging out with Darnella. All kinds of wondrous things happen from there. It is a great cast and I am honored to have worked with every single one of them. It was a joy to be there everyday.

AM: That reminds me of the series you made in England called "Lovejoy." What was that like for you?

LG: Oh I loved "Lovejoy." The trivia people will like this. In the final scene I had in "Dallas" Ian McShane was my lover and I was whisked off to London with my son John Ross to get away from JR. We were divorced by then. So Ian said, "Why don't you come to London and do 'Lovejoy?' I said, "Sign me up, I'll be there."

AM: I notice you have a connection with the Brits.

LG: I love the Brits. I have way back family that I am hoping to go find sometime when I'm not working.

AM: Linda you belong on a very short list that consists of female directors. I know it was a struggle to even get to direct one episode of "Dallas." Can you comment on this?

LG: It was tough because it was in the eighties.

AM: It's still tough.

LG: It's very, very hard. I didn't want to be a diva and say I am on a hit series so therefor I am entitled to direct. I didn't ever want to do that. I thought that wasn't the way to approach it but I really, really wanted to direct.

AM: Did you study directing?

LG: I studied with Lillian Chovan. She has now passed away but she was a French woman director. I studied with her on my days off. She would teach me all about directing and camera angles and more. She said to let her know when I was ready. I'll let you know if it's premature. At the end of Season Eight I went to the producers and told them I would like to direct. No, no, no was the answer. I said, "What!?! Patrick is directing and Larry is directing. Why can't I?" They said if they let me direct then Barbara Bel Geddes and Charlene Tilton and Victoria Principal will all want to direct. I had already talked to them and they said they don't want to direct. So it got a little sticky.

AM: What did the producers say then?

LG: I told them I don't want any more money. I just want to direct one episode in the next two year cycle. I didn't think that was so horrible. I didn't want to direct six episodes. They still said no. Basically I was fired at the end of year eight. So I said good-bye and Larry said see you next season. I told him I won't be coming back. He said, "What!?!" I told him, "They fired me because I want to direct one episode and if that's there stance I'm out of here." He was stunned and he said if you go I go. He denies that to this day. He really went to bat for me. He said, "She can't go. We are family. Sue Ellen and J.R. have this magical rapport. She can't go, give her one show!"

AM: How did they handle that?

LG: The producers came back to me and reluctantly gave me one show. I didn't care how I got it. The funny thing was in 'Dallas' most of the scenes were always two people in bed or an office. My first episode was a costume ball in Martinique with German Shepherds and gurneys. It wasn't two people. They thought OK she wants to direct we will let her direct. I opened the script and went 'Holy Crap' what is all this? They just threw it at me. I called Lillian and told her they were out for me. She said, "Of course. Just take a deep breath and get out there and show them." She was my support so I went in and did it. After that it was, "Do you want to do another one?"

RL: That must have been so fulfilling for you.

LG: It was and you know it was a different time. Not to say that it is easy for female directors now because it isn't. Back then in the eighties it was really challenging. Yes I was a cast member so I had the support of the cast and crew. I felt really blessed and I kept that focus.

AM: Do you still have an interest in directing?

LG: I would direct but I would have to direct something that appealed to my heart. I couldn't just direct, it's not my deal. I read a lot of scripts and if I found something that I really felt would enhance people's lives I would do it.

AM: Tell us about being the UN Goodwill Ambassador.

LG: I did that from 1997 to 2007. I traveled around the world helping women and children with their health issues. Once again I feel very blessed to be able to have done this. I saw places that a travel agent would not send you, sitting in little huts with concrete floors. I always asked them what they wanted and was told they wanted clean water, a healthy child birth and an education. To this day if I have a little bottle of water I have to finish it. We take so much for granted. It totally changed my life. The first day I was in Nicaragua I went back to my hotel and sobbed and started journaling. They don't have anything.

RL: You saw it one on one and really got to experience it.

LG: Oh yes I was the interviewer and they would tell me things that were important to them. I didn't want to be this American and go there and tell them what they needed. We were invited in.

AM: How true is this rumor of a new 'Dallas' series?

LG: I will tell you the full scope of what I know. I was driving along when my phone rang and it was this lady who told me there was a possibility of putting together a new Dallas focusing on the younger cast like John Ross and Christopher. She asked me would I be interested. I said, "Sure." They were checking with me, Larry and Patrick. She then said, "OK, we'll get back to you." From then on it exploded with the New York Times and Google. We then did the CBS Morning show but they didn't ask us anything about it. It puts you in a very precarious situation. You don't want to be the publicity person. We don't want to be used like that.

AM: It spread like wildfire.

LG: Yes it did spread like wildfire. People were talking all over the place. First of all there has never been a discussion, no talks of dates or time or money. I know we'd all think twice if we had to go back to Southfork. None of this has been discussed. That's the honest truth. We don't want it to be a T&A show if they are going to focus on young kids half naked and drag in the old people who made it a huge success and then have a crappy script. Are we interested? Yes, but there are a lot of things that have to go on before we commit.

AM: You did something a little different for an Actress of your stature by being on "The Bold & the Beautiful." Were you a fan?

LG: I was asked to come on and do ten episodes. I played the mother of a not-very-nice lady. It was a great part. I did the ten episodes. That was the hardest job. I'd never done a Soap Opera. You never see the director. I was looking around going where is the director and I heard a voice come over the speaker saying, "I'm up here." It's three camera and I'd never done that before. I like to know all about as much as I can. I've done London Theatre and Broadway.

AM: Are you interested in more Theatre?

LG: I love Theatre.

AM: That means you are a real Actor. You are not the typical Actress anyway. You seem to have had a life first. Is this true?

LG: Yes it is.

AM: I also know you are the leg in the famous poster shot from the classic film, 'The Graduate.'

LG: Then I got to play Mrs. Robinson on the stage. I look at my resume of women and it's Sue Ellen, Mrs. Robinson, and in 'Terms of Endearment' I played Aurora. For me those are the kinds of women that are interesting.

AM: It's so far away from the real you isn't it?

LG: Oh yeah. When you see Darnella, you will fall in love with her. I've never played anyone like that in mini-skirts and tights and five-inch high heels. She is just charming and adorable like a Fairy Godmother.

AM: Can you tell us about 'Santa Monica: A Community That Cares?'

LG: I produced that and I think every community should have it. It's a community service program. Say if you move to a new city and need some assisted living information. We took seventeen female directors and gave them a thousand dollars each. We married them with a service organization like a retirement home or Alcoholics Anonymous. Anyway we gave them the money and said you can spend it on lunch or film, or music for the film. We gave them seven minutes for their reel. They had to go to their respective service organizations and tell us what they are about.

AM: What does this service do for Santa Monica?

LG: If I just moved here from New York who is going to help me? I need some insight into what you do. It played for two years twenty-four hours a day. It was on an endless reel all about these seventeen different organizations. It was magical. If you are new to the community you get to learn a little about all these services. It was fabulous.

AM: You have been a delight to work with and I am so grateful for this opportunity.

LG: Thank you, that is kind. I feel the same way. There was never an awkward moment and you shoot the way I love to be shot.



To learn more about Linda Gray check out her web site http://www.lindagray.com/

Rudy Calvo

Photos by Alan Mercer

Le Chapeau by Alakazia

Over the course of a career that has spanned more than thirty years, Rudy Calvo became one of the industries most sought after makeup artists. His prodigious talents have touched the faces of such notable celebrities as Halle Berry, Denzel Washington, Queen Latifah, Will Smith, Angela Basset, Natalie Cole, Chaka Khan, Jill Scott and living legends Etta James, Nancy Wilson and Gladys Knight among countless others.

Calvo’s excellent reputation as the make-up artist to female vocalists is a natural outgrowth of his love for them. He is a passionate collector of vintage vinyl recordings, photographs, video clips, books and sheet music of such icons as Ethel Waters, Tina Turner and The Ikettes, Diana Ross and The Supremes, Josephine Baker and Patti LaBelle. LaBelle relied upon Calvo’s extensive knowledge of her career for her autobiography, “Don’t Block The Blessings.” As a result, Calvo helped provide a comprehensive discography and several rare photos that were incorporated into the book. Another discography that he was asked to help write was for the autobiography, “My Name Is Love," The Darlene Love Story. Currently he is working on his own book, “Songbirds”, in which he pays homage to the careers of many legendary female vocalists and will feature his unique makeup techniques.

What initially began as a hobby has mushroomed into a full-fledged archival service know as The Rudy Calvo Collection. He has been called upon to lend his collection to the A&E “Biography” series, Lifetime’s “Intimate Portrait” and BET’s “Journeys In Black with Patti LaBelle” on which he was also interviewed. Additionally he has worked on the British television special “Top Ten 60’s Soul” and has been seen on the BBC biography series “Black Legend” based on the life of Diana Ross, as well as appearing on another recent BBC special based on the legends of the dance world called “Queens of Disco” for which he also provided images from his vast collection.

His collection has become an invaluable resource for record labels such as MCA, Warner Bros., Hip-O, Ace, Brunswick, Reel Music and Motown (A subject that he is considered an expert on); as well as writers, producers and recording artists researching material currently out of print. He has also been a US correspondent for the UK magazine “In The Basement” that is dedicated to real soul music. His collection has also been seen in books such as "Black Hollywood Tragedies" and “California Soul,” which was based on the music of African Americans in the west.

I met Rudy Calvo nine years ago when I first moved to Los Angeles. He has been a great friend all this time. What a pleasure to share with you a little of my 'friend experience' with the one and only Rudy Calvo!

AM: Hi Rudy, Do you think you are gaining a high profile reputation for your Collection?

RC: Yes, it's been growing for the last ten years little by little. Word got out in England especially so I have been getting more and more calls by people who are researching for certain photos or songs. It's taken on a life of it's own.

AM: Was this your goal from the beginning?

RC: No, I have been collecting since I was a little kid. I did wonder why I was collecting as much as I was. It got to a point where I said, "What am I going to do with all this stuff?"

AM: Was the collection started as a fan of the music?

RC: Yes, it was all about my love of the music.

AM: When did you realize this could be something of importance?

RC: Years back when I got a call from Motown Records asking if I had any images of 'The Marvelettes?' It turned out I did have a few images in my collection that they didn't have. It ended up being the front and back covers of their box set called "Deliver The Singles."

AM: Who at Motown knew that you had a picture?

RC: One of the art directors knew that I was a collector and they called and asked if I happen to have any photos? That was one of the beginnings.

AM: Who is the most sought after artist that you have in your collection?

RC: Probably Patti LaBelle because I have had so many calls from different documentaries about her. I contributed nine photos for her autobiography. Patti always says, "Call Rudy because he will remember when I did something. He knows more about my career than I do." I get the calls about Labelle and Patti LaBelle and the Bluebelles.

AM: Do you think Patti gave you a credibility as a Soul Music expert?

RC: She is one of the people. I did start out as her make-up artist, but I was a fan first and I had already started collecting her history. As I was working with her more and more she realized how much I knew about her career and how much I have collected about her.

AM: Tell me about your Ikettes collection?

RC: I like anything relating to Ike & Tina Turner, but especially the early Ikettes, Robbie Montgomery, Venetta Fields, and Jessie Smith who are all dear friends to this day. Ace/Kent records released a collection of their Modern Records recording and my photo ended up on the cover. It was a picture that nobody else had. I contributed a lot of photos and sheet music. Ady Croswell who is one of the heads of Ace Records, happened to be visiting Los Angeles and he came to my house for dinner, and he started going through my collection. He saw how much I had on the Ikettes. They already had a cover for the CD but it was the wrong grouping of girls. I said to him if they ever reissue the Ikettes CD it would be great to let me contribute some photos. He went back to England and then got a hold of me and I have been contributing a lot for Ace Records. They are the premiere label for reissuing Soul Music, really any kind of music as a matter of fact. They are a pleasure to work with.

AM: Do you consider yourself an expert on Soul music or 60's music or what?

RC: I LOVE IT ALL! I'm pretty much a walking encyclopedia of all music but I especially have a love for 60's Soul because I was collecting when I was a kid. The first record I ever bought was Dee Dee Sharp, "Rock Me In The Cradle Of Love." It's a very up tempo, gospel, type song. What made a kid of ten years old be so attracted to that sound? Something about it really attracted my spirit.

AM: Did you hear these songs on the radio?

RC: Probably I don't remember.

AM: Do you think anyone in your collection will be retro-hot soon?

RC: I've provided some photos of Brenda Holloway who was one of Motown's premiere female artists in the 60's. She did not get the proper dues back then. They just reissued all her pre-Motown recordings. She is someone I have been really passionate about collecting all these years; I had several images of her they had not seen. One of them made the cover as well as the inside centerfold. Brenda has always been at the top of my list. She seems to be having a resurgence. She is better known over seas than here in the United States as most of these artists are. They are never embraced in the States the same way.

AM: Why do you think that is?

RC: The over seas market seems to be filled with more connoisseurs of music and they go for more obscure stuff. They tend to embrace those songs that never gpt played here or sometimes even the B-side of some records.

AM: What is your goal with your collection?

RC: I would like to donate it to a museum like the Schaumburg in Harlem, where I know it will be preserved and embraced.

AM: Do you find your collection to be as gratifying as being a make-up artist?

RC: It's different. As a child and teenager I always wanted to be involved in music. Both professions have allowed me to work in the music industry. It's pretty fulfilling because I always wanted to work in this industry.

AM: Are there any other projects you want to discuss?

RC: Yes, as you know, I've been working on a book with you and some other photographers. This is where I will utilize a lot of the collection because I am using a lot of vintage pictures of long forgotten artists who are not known here but they are women of substance who have contributed a lot to the music industry. Maybe they haven't had a hit in thirty years but the fact that they still work makes them relevant. They should be recognized. The book will have a contemporary portrait and a vintage picture from their heyday. Another thing I am working on is compiling music for CD's. That is really exciting to me because I have always wanted to bring light to certain groups I am passionate about. I am working on a project I can't mention yet but it is thrilling for me to bring a lot of the music I have loved through the years back to life!

Markina Brown

Markina Brown is the primary meteorologist for KTLA's Prime News. She joined KTLA in August of 2008, from WOIO/WUAB-TV in Cleveland, Ohio.

Prior to Cleveland, Markina worked at WBBM-TV, in Chicago, Illinois where she served as the weekday morning meteorologist. She joined the station as weekend meteorologist/weather reporter.

The Detroit native has a B.S. degree in Geosciences with a concentration in Meteorology from Mississippi State University, and from Central Michigan University, she's earned a B.A. in Broadcast Journalism and Cinematic Arts, and a B.A. in Political Science with a concentration in International Relations.

In addition to all of that, Markina holds the Television Seal of Approval from the American Meteorological Society and the National Weather Association. She is also a member of the National Association of Black Journalists, National Council of Negro Women -- and is also a member of Alpha Kappa Alpha Sorority, Inc.

Markina is the third reporter I have photographed from KTLA. As you can see from these photos she is a natural beauty with a lot of poise. I have a feeling she will be successful at anything she goes for. The fabulous TJ Romeland did hair, make-up and styling.

AM: Hello Markina, How long have you been in Los Angeles?

MB: Just since August of 2008, so really not that long.

AM: Did you already have your job at Channel 5?

MB: I came here for the job.

AM: Did you work in television in Detroit?

MB: No Detroit is where I'm from but I never worked there. My previous job before Los Angeles was Cleveland, Ohio and then I worked in St. Louis before that and Chicago before that so I've been all over.

AM: Were you doing the weather at all these stations?

MB: Yes I was.

AM: How did you get into weather?

MB: A lot of people ask me if this was something I always wanted to do because a lot of kids are very interested in weather. It's always so intriguing to them, and not to say that it isn't to me, but growing up, this is not what I wanted to do.

AM: What did you dream about doing?

MB: I wanted to be a TV reporter, not an anchor, just a reporter. After I went to college I applied for my first on air job. They told me they wanted to offer me the job but it was weekend weather reporter. I told them I had never done weather before. I didn't want them to put me on TV thinking they were going to see this great weather person. I wanted to be upfront with them about that. The news director said they would teach me. So I started following the meteorologist at the station and went to school for it, and liked it. I loved it after I got my degree and I have been doing it ever since.

AM: But you would be happy to have another kind of reporting job now wouldn't you?

MB: Yes I am in Los Angeles now and there are so many other types of reporting that you see and that you can be open too. There are more options here. News is great and that's what got me here. I'll always have my meteorology degree. No one can ever take that away from me no matter what I do.

AM: Was it a goal to get to Los Angeles?

MB: That wasn't a goal until I got here. In 2008 I said to my then fiancé, "What do you think about getting out of here and going somewhere warm?" He was born and raised in Ohio so we both knew about big winters. He said he wouldn't mind it, so I talked to my agent about looking for a job here and got it.

AM: Now that you are here you like it, and you have set your sights even higher.

MB: Absolutely, you have to do that.

AM: What is your ultimate goal?

MB: I don't know. I can't answer that. If anyone would have ever told me that I would come to LA and be thinking of a job outside of news I would have said, "No way!" I can't say because I don't know. Coming here all I wanted to do was the weather, now I am thinking about other things. Who knows, actress, game-show host, you name it.

AM: Do you like interviewing people?

MB: I do very much.

AM: Is there anything else you want to tell me about?

MB: No, we are here enjoying the sunshine. As far as my career goes, we will just have to see what happens.

AM: Do you want to have a family?

MB: I would like one child. I think I'd love to have one kid and if I can get that done I will consider myself to be extremely blessed and happy.

photos: Alan Mercer Hair, Make-up & Styling: TJ Romeland

Yvonne Elliman is Home Again

photos: Alan Mercer lighting: Eric Venturo

Yvonne Elliman's singing career began in 1969 in London where she performed at various bars and clubs. This led to a recording contract and later, in Miami, a close association as a backing vocalist for Eric Clapton. She performed on many of his 1970s hits including "I Shot the Sheriff" and "Lay Down Sally". She sang the role of Mary Magdalene in the original album of Jesus Christ Superstar and in the subsequent Broadway and film version, and achieved her first hit single with the ballad "I Don't Know How to Love Him." This performance led to a 1974 Golden Globe nomination for Best Actress in a Musical or Comedy.

Her recording career began to take off from this point and she scored several hit singles throughout the world, including cover versions of the Barbara Lewis hit "Hello Stranger" and the Bee Gees' "Love Me." Her biggest success came in 1977 with her #1 hit from the Saturday Night Fever soundtrack, "If I Can't Have You" which was also written by the Bee Gees. The song was a big hit, rising to #1 in the Billboard Hot 100. Its success has resulted in Elliman being remembered as a disco artist, though this style of music was an exception to the medium-tempo ballads that she specialized in.

She appeared in a two-part episode of the television action series Hawaii Five-O during this period as an aspiring singer, performing the song "I Can't Get You Out of my Mind" with co-star James Darren. The single "Savannah" was also a hit and demonstrated Elliman's attempts to move away from disco music and create music that focused more on her vocal abilities.

After a considerable hiatus, Elliman reappeared on the music scene. An album titled Simple Needs, with all songs written by Elliman, was released globally on June 12, 2007. She has continued performing in music festivals, benefits and concerts throughout the country and around the world while calling Hawaii home again for the past nine years. She lives a peaceful life taking care of her elderly parents and cooking for her long-time boy friend, Allen Alexander, when she is not on the road.

I have always been able to appreciate the beauty of Yvonne Elliman's voice and music, as well as her obvious physical beauty. She can linger on a note, and sustain a purity of tone, that gets warmer, the longer she goes. She is raw and edgy in true 'rocker chick' style on songs like 'Can't Find My Way Back Home.' Check out the Youtube video of her singing this song. It's also available on her CD "20th Century Masters - The Millennium Collection: The Best of Yvonne Elliman." She recently played in Los Angeles where I had a chance to finally meet up with, and work with, one of my long-time musical heroes. There was an instant connection. Hawaii's New First Lady of Song is an out-going, fun, warm, and beautiful soul with so much musical talent. As it happens Eric Venturo is a major fan of Miss Elliman as well, so we had a lot of fun getting these shots and talking to her before she went on stage at the Hollywood Bowl.

AM: Do you perform a lot in Hawaii?

YE: They don't pay very well. All the musicians who live there have to have day jobs. I don't know why that is because you would think that the tourists would bring a lot of money into Hawaii.

AM: Would you ever take a day job?

YE: If the truth be known I do not want a regular job.

AM: Would you ever go back to Broadway?

YE: I don't want to repeat myself. That is why I was only on Broadway for six months. The producers knew I was too young to be doing eight shows a week. It can get to you. I wanted to change the blocking! (laughing)

AM: Is it true that you took a flat fee instead of a percentage for the original Jesus Christ Superstar album?

YE: Yes I took $240.00. They spread it out on the desk like a deck of cards. I thought, 'Damn!' My manager and I were hungry. She told me, 'Darling, it's not very good. Take the money.' (laughing) We took the money and ran. We bought a case of Matusse wine and a bunch of steak. Then we had a party on top of the roof. It was the best time.

AM: What do you remember about recording 'I Don't Know How To Love Him' and "Everything's Alright' for that small amount of pay?

YE: We thought I would just do the songs real quick and I did record them in one take!?! In and out so we thought it was great money for one hour of work. If I had received a lot of money in those days I might not be here today. I was a naughty girl.

AM: You were wild.

YE: Well I was an only child, a latch key kid, and when you are left-handed as well, watch out!

AM: I understand that. It's only logical that when you were hanging out with Eric Clapton and people like that. There is no way you would not be 'living the life.'

YE: Yes, you had to be one of the boys. It all went hand in hand. I couldn't be a rock 'n roller and not have a drink in one hand and a coke spoon in the other.

AM: Do you feel more like a Rocker or a Pop star?

YE: I've always been tagged 'Pop' but the 'Rock 'n Roll' heart was always there. When I went to London it was to be the first kick-ass, female electric guitar player. That's what I wanted to be.

AM: What happened?

YE: I got discovered! (more laughing) I used to go all around all the double-decker buses with just a fret board made of paper and practice the scales so I would know where the notes are. I heard Jimmy Hendrix did that with his fret board in his desk at school. I really wanted to play. I was learning Jimmy Page licks and getting it all together and of course that's when 'Superstar' came along, and it was a total different direction.

AM: Aren't you glad you did it?

YE: 'Jesus Christ Superstar' ended up being totally brilliant, especially for Christianity. It brought a lot of young kids into the Church. I thought Mary Magdalene was Mary's Mom. That's the level of my education at the time. It did teach a lot of people that at least Jesus was a man. It was a good thing.

AM: Many young people learned about the Bible from that show.

YE: Is that right? I went to hospitals and actually had to touch this girl who had been in an accident and she wanted me there. The parents were praying for her to make it through...and she did. They gave me the credit. It was getting too heavy. I did that twice and I thought, no I can't do this anymore. I became an Agnostic actually. I was getting so much flack from people who were Buddhists and Krishna's. The 'God' thing was getting on my nerves.

AM: It's called art.

YE: It's called will the real God please stand up. I was so confused.

AM: From 'Jesus Christ Superstar' to disco is a long way.

YE: Don't forget there was Clapton in between. He was my idol and he asked me to be in his band. Talk about a freaking moment when you cannot speak! I had just been on an album of his and he featured me in two songs. I was riding an incredible wave. I'm on the road with Clapton for three and a half years and Robert Stigwood said to me, 'You have to leave the band and get a band of your own. You have two singles and they are climbing the charts. You have to go out and tour.'

AM: How did Clapton react to this?

YE: I had to tell him I was leaving and he got very mad. I did not want to leave. I'd be there today if I could. I'd be very happy if I was still doing that today. I love the man's music, but he got mad and I got to do my own thing which was totally different from his. There were no more Lear jets and trains waiting to take us to our five star hotels. I was on a bus and we shared rooms in hotels and played little bars when it was a freezing cold winter. It was very hard. I paid my dues. But then 'Saturday Night Fever' came along.

AM: I remember a photo of you in Billboard magazine when you had your number one hit. You were with a group of executives and you were all holding up champagne flutes, celebrating.

YE: Oh really!?! That was a 'trippy' day. I got a call early in the morning, 'You are number one with a bullet.'

AM: Was it a dream come true?

YE: Yes I had been waiting and waiting. I was watching that thing climb the charts and then get stuck. There was some heavy competition. So it was a relief when it made it to number one. I don't know if there was any payola going on and I didn't want to know if there was. Then I got the 'Hawaii 5-O' part because I had a number one hit. I was Yvonne Kanekoa! (laughing)

AM: I remember that. I may have even seen some of it on YouTube. Now why did you move back to Hawaii?

YE: I mainly just had to get out of LA. I was living on top of Decker Canyon in a decrepit house and we were being evicted. Time to go. I took that opportunity. It was like God answering a prayer. I also decided to stop singing songs that I wasn't crazy about. I want to just do songs that I love. I don't want to waste my time doing that and then what if something I do hits? If I don't like it I am stuck. That's how I got stuck in disco for so long.

AM: Do you appreciate disco more now?

YE: I can see now what the power of it is. It is very positive and that's great to have in this day and age when everything is so negative. Back then I was not as into it because I was a Rock 'n Roller' so I was ready to leave the disco thing behind.

AM: What have you been doing musically the past few years?

YE: I started to write music. I liked what I was doing. I was kind of scolding people.

AM: What do you mean?

YE: My songs are about being more aware. I don't know why. I have things to say I suppose, right? I did write a great love song for my boyfriend called, 'Just Right.' I'm really hot on that stuff. I have an album's worth of material ready to go. I don't know why I can't just make that my priority and work on that. People want to record me over there for free. Come on let's just do it. I'm just not organized.

AM: So you do have some music that you have already recorded?

YE: I have demos of some songs that I am really excited about. It's just me and a guitar playing in the studio. I am also in the process of writing a song called 'Elephant' because I love the elephant. I was called 'Yvonne Elephant' in school which was really terrible. It was a real drag.

AM: Do you think we will hear some of this new music in 2010?

YE: Thank you so much. I need a little encouragement because I am the perfectionist. The mood has to be right, the inspiration has to be right, I have to be in the right place. That's not good. Sometimes you have to push yourself and force yourself because you can get surprises. I've got to finish the 'Elephant' song and 'Leave Lefty Alone' and then I'll be ready to record. There's nothing holding me back except myself.

AM: Why don't you get into acting?

YE: I don't know about acting.

AM: You are a great actress.

YE: I did the Hawaii 5-O part and of course I was in 'Superstar' but there was no talking, so when I did have to talk for the first time I thought it was really uncomfortable. I don't think I am going to pursue any acting. I have a hard enough time getting the music out.

EV: Your voice has remained strong and clear.

YE: They say it is the tone of my voice. For years I didn't know what people liked about my voice. I don't have a huge range. I don't have the gymnastics that Whitney does.

AM: Whatever is in your voice I know it is a warmth that I like.

YE: Oh really. Thank you.

EV: What was it like working with (photographer) Norman Seef?

YE: Oh he was fast. He was about trying something different. He said, 'Let's take it outside.' He got me running down a hill where one boob is up.

AM: Do you feel like Hawaii inspires you as an artist and are you there for the rest of your life?

YE: Oh yes. I have been given such warmth and such a welcome. It's like being a big fish in a small pond. They fed me when I was at my most insecure point. I needed to rebuild the confidence and that was the best place for me to be. I feel comfortable to be in my own skin there. I know what they are saying when they talk Pidgen. My Mom and Dad are there. They are going through the old age stuff so it's a good time for me to be there for them.

Learn more about Yvonne Elliman on her MySpace page http://www.myspace.com/yvonneelliman

Shèna Winchester: A Real Disco Artist

photos: Alan Mercer Lighting: Eric Venturo

Shèna Winchester is not just a sensationally talented vocalist. She is also a vivacious and gregarious beauty. The British born singer graduated with honors from the Royal Academy of Music. Her main goal has been to create infectious music that gets down deep inside the listeners head and body. You can't help but dance to her catchy sounds.

Shèna has produced some breath taking solo work with the release of three incredibly well produced and received singles and is currently working on her debut album, a project that will introduce a new sound that dices together big, bold and classic orchestral disco with raw and edgy breaks, beats and lyrics.

Now in 2010 she will release her first solo album titled, 'One Man Woman.' She came to Los Angeles recently to perform for the first time. Thanks to my friends, Michael Williams and Pedro Arista from Medium Rare Records in San Francisco, we had a chance to meet up and take some fun shots. I loved watching Shèna on stage and I 'loved' taking photos of her. She is pure magic to be around and work with. Shèna is blessed with a loving and kind disposition. We laughed the whole time we were together. Eric Venturo was around so he helped out with the lighting as usual.


AM: I have been listening to all your music. You have done so much work for other artists. How does it feel to be your own artist?

SW: It feels fantastic! I wonder why didn't I do it sooner? It's champagne meets lemonade. That's the difference.

AM: Who musically inspired you?

SW: In her prime, Whitney Houston. Also people like Ella Fitzgerald, Lauren Hill. I love voices that have power at the bottom range as well as the top. There is a richness in the lower end that takes it up to the next level. Oleta Adams is another prime example of that. Those are some of the people I listen to and want to sound like. They are brilliant.

AM: You do sound like them but in your own unique way. I don't hear anyone but you when you sing.

SW: That's fantastic to hear that. That is the idea. I want to sound like 'Shena.'

AM: Is your album going to be released in 2010?

SW: That's right. We are releasing it world-wide on my own label called No Prisoners Records. My huband and I founded it.

AM: You wrote your songs didn't you?

SW: My husband and I wrote all ten songs. We are bringing real disco back. We want the bass and the looseness of the grooves. It was such a great time for music and it's a shame it died.

AM: This was all before your time.

SW: Absolutely, I never got to experience it first hand so I have to catch it the second time around.

AM: Are you on a one woman crusade to bring back the joy and the fun of the music?

SW: Absolutely I am. I want to bring it back and put a modern twist on it. You want to bring a new crowd into it so they can appreciate it.

AM: Do you tour around the world? I see that you are performing in Moscow.

SW: I have quite a career in the dance world so I still get asked to perform my dance hits. Moscow is a place that really appreciates me.

AM: Have you performed there before?

SW: Yes I am always in Moscow. I have spent half my life in Moscow airport! (Laughing)

AM: Is this your first time in Los Angeles?

SW: Yes this is my first time and I love it. The people are positive and helpful and the weather is great!

AM: I hope you come back when your CD is out.

SW: I would love too. It's an honor and privilege to be here.

EV: You are on your way to greatness.

SW: Thank you very much.

To learn more about Shena checkout her web site

http://www.shena.co.uk/

Skip E. Lowe: A Real Hollywood Player

photos: Alan Mercer with help from: Richard Levi

From The New York Times:
"Skip E. Lowe is a true TV legend. With nearly 30 years on the air interviewing celebrities on his cable TV show, he is easily one of the most recognizable faces in Hollywood."

From Variety:
"Skip E. Lowe has interviewed hundreds of established celebrities. He's also been responsible for creating more than a few celebrities as well. He has a sincere love of old Hollywood, but he also has a great eye for new talent."

From The Los Angeles Times:
“Skip E. Lowe is a retired stand-up comic who spends 30 to 40 hours a week working on his interview show with established stars such as Stella Stevens, Virginia O'Brien and Milton Berle.

From The New York Review of Books:
“This book is a great journey of someone's life. Skip E. Lowe is a true show business character--as much a part of the town as the Hollywood Sign. His life is filled with pathos and happiness. From cover to cover the book is a pure joy. You'll find yourself wondering who could possibly play Mr. Lowe in the movie that undoubtedly will come from this fabulous life memoir.”

What else can I say about Skip E. Lowe that hasn't been said already? He is such an original himself. Richard Levi and I met up with him at a coffee shop on Santa Monica Blvd. in West Hollywood. I took this photo of him right there on the street where I have seen him living his life ever since I moved here nine years ago. He invited me to be a guest on his cable access show and I was thrilled to do it. Go to Ebay where he sells his classic shows and check out all the people he has interviewed. You might even want to purchase one!


AM: Hi Skip. You have the reputation of interviewing more people than anyone else. Is this true?

SL: I have done over 8200 shows from Joseph Cotton to Orson Welles. The very first guest was Aldo Rey and he got me a lot of stars. I have interviewed all these legends. Not just actors, but singers with very specific styles.

AM: You have a couple of 'firsts' to your credit don't you?

SL: I was the very first interviewer on Public Access. I was the first to tell the camera man to get up close. People didn't always like it but I wanted close-ups with a plain black background. I just wanted the viewer to see our expressions without interference.

AM: What would you call your interview style?

SL: I do in-depth interviews. The man I learned the most from is Charlie Rose. He is my favorite person on television. I didn't learn a thing from Larry King. I knew him back in Florida. He got lucky. He was at the right place at the right time when CNN started in Atlanta.

AM: When did you start interviewing?

SL: I started when I returned from Vietnam in 1972. I met Marshall Edson who was the owner of a club in Beverly Hills. Joan Rivers was doing her showcase at the time. I was there a couple of years and Marshall asked me to take over the showcase so I started booking singers, comedians, and other kinds of acts. I remember Michael Feinstein came in one night and played piano. He was great. Michael worked for me for a while. Then he moved over to a club on LaCienega to work a talent night. That is how he got started and then Liza Minelli got a hold of him. She just kept helping him and he made it.

AM: You know so many people.

SL: I came to Hollywood as a child actor at nine years old. My mother brought me here from Rockford, Illinois, right outside Chicago. My first movie was 'Song Of The Open Road' with Jane Powell. I play one of the orange pickers.

AM: Were you ever star struck?

SL: No, never, never once. I've met so many stars. That's why they liked me because I wasn't start struck.

RL: Who do you like from today's stars?

SL: Sean Penn is my favorite. He is a good friend of mine. He loves me and I love him. You know why? Because he is a natural. He is a wonderful human being. He knows who he is. I also love Michael Parks. He is fantastic.

AM: You know (40's film star) Lizabeth Scott, don't you?

SL: I love her. She lives up in the Hollywood Hills. I talk to her all the time. She won't do any interviews or anything now. She gets asked all the time. She still has that voice. I love her.

AM: Who else did you like?

SL: I love Ida Lupino. She was a fantastic actress.

RL: I remember watching her and thinking what a strong lady.

SL: She was a strong lady. You like strong women like I do.

RL: Who do you think is a strong lady today?

SL: We do have Faye Dunaway. She lives around the corner with her son. She is a real strong lady.

RL: When did you start doing your cable access show?

SL: I started that in 1981. I met Peter Bogdonavich and he had Orson Welles living with him at the time. That's how I got Orson. I am selling these shows on ebay now. They are half hour shows on DVD.

AM: Who would you like to interview now?

SL: I'd like to interview Sean Penn and Johnny Depp. When I first started the show and would interview people they would get work. People would see them and they would get offers. It happened with Janet Leigh and Tony Curtis. I was the very first person to put celebrities on Public Access. After that other people started doing it, which is fine.

AM: Tell me about Martin Short and his character Jiminy Glick being based on you?

SL: I met Martin when he was a busboy at Chasons. He used to watch all my shows. He is a very talented guy. He then did the 'Saturday Night Live' in Canada. He got an agent and manager and they told him to watch Skip E. Lowe. Paul Schaeffer, who is a friend of mine, used to send Martin my shows. That was it. He started putting this character, Jiminy Glick, together with my style. Everybody has a little individuality. Quintin Crisp once said to me, "Always have your own style." If you have style you can do anything. It's the same with you as a photographer. You have a certain style. I love your photographs. They have your signature on them.

AM: Who was your most difficult interview?

SL: I never stopped tape but I feel it when they are not into it. There is only one person really who wasn't talking. I asked her all about Warner Bros. and James Cagney. She was the beautiful Virginia Mayo. She was the most difficult interview I have ever done. She would answer in three words and say, "Let's not get into that!"

AM: Tell us about your experience with Judy Garland.

SL: I was walking down the street one night in Beverly Hills. This is when she was on a lot of drugs. She used to walk with her husband at the time, Sid Luft. One day I ran up to her and she screamed at me to, "get out of here." She is my all-time favorite performer. She is one of the greats.

AM: Who are you loving now?

SL: Well of course I love my long time friend Mamie Van Doren. I am also loving Sally Kellerman. I just got into her. She is a lovely lady and I find her fascinating, and talented. Her CD is so good. The camera loves both of these women.

AM: You know Mamie is getting ready to go into the studio to record in a few days.

SL: That will be a great album. I can't wait.

AM: When is your birthday Skip?

SL: June 6. I turned 80 years old this year. I am a Gemini. You don't know which one you are talking to!

AM: You knew a lot of the stars from the fifties. Did you know Marilyn Monroe?

SL: I met Marilyn many times in New York. When I was about fifteen I moved to New York and stayed with my Aunt Sadie. I started working in the Catskills after that. I developed myself as a comic there. Then I went to Chicago and worked for the Mafia as a number boy. I met all the Mob bosses. I even met Al Capone in the coffee shop in the Burkshire Hotel. He told me I was a good Italian boy and he would take care of me.

AM: Were you making bank at this time?

SL: Yes I was making a lot of money but I gambled it all away. I played the horses. Everyone all around me was playing the horses. I was making money but I owed a debt too. Instead of me paying it back I checked into a mental hospital in Chicago under my real name, Sammy LaBella, and they couldn't find me. I disappeared. I got away. It's a great story and would make a wonderful movie.

To learn more about Skip E. Lowe visit his web site http://www.skipelowe.com/

Patrick Basile: a Singer's singer

all photos: Alan Mercer

Singer extraordinaire Patrick Basile, originally from upstate New York, has made Los Angeles his home for the past several years. I first heard his music on his MySpace page. I was overwhelmed at his ability to sing a standard and make it his own. His CD "Natural Man" is filled with one gorgeous cut after another. Also checkout his Christmas CD, perfect for this time of year.
I first photographed Patrick a year and a half ago. His (mostly) female fans all over the world fell in love with our shots. It's easy to see why. Patrick is a strikingly handsome Italian-American with chiseled good looks. For these new photos we went up to the top of Laurel Canyon and Mulholland.

AM: Hi Patrick. You represent the new breed of recording artists who does mostly everything yourself. What do you think about this?

PB: Well it's a lot of work. More work than you can imagine. Fortunately I am able to produce my own recordings from the orchestrations, arrangements, and over-seeing everything else about the production The control factor is wonderful but it would be nice to have a label putting the money behind it, and be able to collaborate with a company I trust.

AM: Do you think having two heads is better than one?

PB: I produced my new CD, "Natural Man", but I had the renowned vocal coach "Seth Riggs", who has worked with artists like Ray Charles, Natalie Cole, Michael Jackson, Barbra Streisand, and Madonna, help me produce my voice. I have his endorsement on the CD. It was wonderful to have another set of ears listening to my voice and telling me what I needed to re-sing for certain reasons. It was great because after creating and working with arrangements, and orchestrations of the same songs for a period of months, you get ear fatigue. He was able to watch over my voice. I was really pleased and very fortunate to have him on the project. He actually made my CD better!
Now to answer your question, "yes", having another set of ears is good. I can't forget my producer/engineer as well, "Maurice Gainen", who oversaw the "whole production". Having people work with you, who know what they are doing is the most important thing.

AM: When you started the "Natural Man" project were you intimidated?

PB: No, I am never intimidated. I "love" challenges! It's the kind of thing that evolves as a piece of art. I tried my best not to over-control everything because that is not what art is about. I let things fall into place. I try to always be in the moment.

AM: I love the fact that the CD is called "Natural Man" and yet most of the songs you recorded are associated with female singers.

PB: That's a good point, because I have always taken the precaution not to record songs by other well known "male" artists, because if you stay with songs associated with women, or other genres, you don't run the risk of comparison. I did the song "At Last", which belongs to Etta James, and it is one of the songs that is getting the most airplay from the album. People love a male singer doing that song. The same thing has happened with "Cry Me A River", which gets me a lot of attention. It really is a song for a woman, but I knew that I could give it a "male" point of view. It is funny, both male and female listeners, love my version of that song, and the music video that was produced for it.

AM: I have heard that the composer of "CRY ME A RIVER" heard your recording of it.

PB: Yes, that is true. "Arthur Hamilton", who is the composer, heard it and called me. He told me he and his wife saw the music video, and it was one of the best versions of the song that he had ever heard! He endorsed it later when the CD came out, and said some wonderful things about me. He said that I had a lot of passion and he felt I understood the meaning of the song. He also released a formal statement, saying that I bring "myself" into every song, making it truly my own. So many people have recorded that song. I felt as if "Gershwin" was calling me!
I love doing songs that are more obscure as well. I also like covering African American artists material as well, for the same reason. They have their own distinct style and I have mine.

AM: I know you have other big endorsements like Paul Williams.

PB: What a thrill it was to meet Paul Williams. Thanks to you, he heard my version of "Nice To Be Around." That song goes way back to when I was a teenager.
I used to sing a lot of his material. Paul really loves the rendition I did. He wrote me a beautiful email thanking me for doing such a beautiful job on his music. I saved the email!

AM: Didn't you record a new song recently?

PB: Yes I just did a cover of "Old Man River" that I am getting a lot of attention for. It is usually done by a baritone but I am a tenor. I always wanted to sing this song. I did a very ethereal arrangement, and I sang it in a higher key, and people loved the fact that it was so different. The song is timeless and deals with all of our struggles. There is a second new song that I recorded recently called "What are you Doing The Rest Of Your Life". I am really getting a lot of positive feedback on this vocal, as it is "unlike" anything that I have recorded. It also has a more naked orchestration, than usual.

AM: When does this CD get it's official release?

PB: My promoter (Cammy Reali) and I are releasing the CD to coincide with this new TV show I will be doing in January 2010 called "Back Home With Lisa Smith Putnam." It's a show like the old Merv Griffin, Dinah Shore style of variety shows. It's going to be filmed in Seattle in an old theater. I'm very excited about that.

AM: Tell me about your Christmas CD.

PB: I did that about three years ago. That CD got a lot of accolades when I first recorded it. You only really get four weeks out of the year to promote and sell it. Usually artists record a Christmas CD after their first CD. I did it the other way around.

AM: What do you know about your fan base?

PB: I do know that MySpace is what got me started. I have a fan base from there, and Facebook now, which I believe will broaden when I have the music available on" i-Tunes" and "Amazon". Right now I have the biggest fan base in the UK and Australia. I have over 28 radio stations playing my music. I have an offer to sing in Italy next year as well.

AM: It seems like musical artists always break outside the US first. Why do you think this is?

PB: I think they are more open to new artists and different genres. I don't understand some of today’s music. I like music that is melodic. Thank God for people like Diana Krall, Andrea Bocelli , Michael Buble, Streisand, and Tony Bennett who are stimulating the market with beautiful singing. I like many genres of music. Country is huge and there are a lot of really beautiful country songs now.

AM: Some of todays music sounds the same to me.

PB: Yes it does. More so than ever now! I don't like too much repetitiveness in a song. However, there is a theory that you have to give people a kind of sameness to your album. They don't like too much variance. I once heard that a successful hit song consists of 80% of what they have heard before, and 20% new.

AM: Getting back to your fans. Typically a good looking Italian man will have a large female fan base. Do you find this to be true?

PB: Yes I have a lot of female fans. I think it is about one third men and two thirds women. I have every kind of person of every age, and every race, from all over, who like my music. I love that! I'm getting emails from Indonesia from people telling me that they like my music and where can they get it. That will be the good thing about getting the music on i-Tunes and Amazon. I can direct them there.

AM: Do you consider yourself more of a recording artist or a performer?

PB: More of a recording artist, definitely. I do have performing talents that I haven't tapped into. I have done some acting in television, commercials, and plays as well. People say they like me on stage. They like my funny banter. I'm not like Hugh Jackman. He is more of an entertainer. I'm more of a recording artist like a young Tony Bennett.

AM: Tell me about your own song-writing?

PB: I wrote a song called, "I'll Follow You" with "Rick Karatas" which is kind of a spiritual thing. We actually wrote three original songs for the CD. The "I'LL FOLLOW YOU" music video has over 3000 hits on YouTube so far. It started out as a Christian song. It has a double meaning. It's a love song as well. A lot of people really love the song. I edited the video too. I love doing that. You can really be creative. You can also see it on Myspace and Facebook.

AM: Are you producing any artists?

PB: I am working with a cellist in the UK. We are doing a recording that is New Age with a Jazz edge. I am arranging, orchestrating, and pIaying all of the orchestral parts. I love doing this, but after a while there is only so much time in a day and all this work is extremely time consuming and exhausting. I have to keep my direction or I go crazy after a while.

AM: Where would you like to see your career, say in five years?

PB: I'd love to be headlining in Las Vegas, and doing concerts. I would love to be featured with "Chris Botti". I just love his work, and he always features singers. I would like to do what he is doing now, performing all over the world with live orchestras. Concerts is where I will be.

"I'LL FOLLOW YOU"

Patrick Basile | MySpace Music Videos
to learn more about Patrick Basile and hear more music visit his MySpace page http://www.myspace.com/patchbasile