As you can tell from the frequent championing of her work that I do here on my wee blog, I've had the pleasure of knowing the multitalented, multiplatform mediaist tornado Allee Willis for about a year now. Whether you know her as the songwriter behind Boogie Wonderland, Neutron Dance, The Theme from Friends, Broadway's The Color Purple, or countless other projects, as a multimedia artist whose paintings and sculptures have sold in the thousands around the world, as a brilliant set designer for music videos and television programs, or as any one of her myriad creative selves, there's no debating her ability to remain creatively evergreen, boldly charging down the dark alleys of creativity like some kind of pink and green superhero.

So believe me when I tell you that her latest project, a music video called HEY JERRIE that posts on YouTube at 6pm tonight, will be worth the watch. The video features Allee with 91-year-old drummer Jerrie Thill.

More on the project here:

www.alleewillis.com/music/jerrie-thill/index.html

Thanks in advance for supporting real genius by lending your eyes and ears to something inspiring and fun.

-Troy

        

I'll be 38 next week, which is no big shakes as life is good and numbers don't mean anything.  I've had a great year personally and professionally, and owe a lot of people my gratitude for being part of my ongoing evolution as a human being.

        

How about some more exciting Allee Willis / Bubbles the artist YouTubage?

This time out, it's "I Confess," an incredible video resulting from the collaboration of Bubbles (Allee), Holly Palmer, and animator Prudence Fenton, who belongs in the pantheon of history's greatest animators for her groundbreaking work on everything from Pee Wee's Playhouse to Liquid Television to Peter Gabriel's best-remembered videos and beyond.

Dig in, eyeballs.

        

Allee Willis, the pied piper of new media (or she would be if she was trying to get you to follow her instead of your own creative gut) just debuted her latest work last night at a huge party at her pad.

Behold... Editing is Cool.

        

A hearty handshake and a slap on the back to Joe Lawrence on his new job.  Way to go, Joe.

        

Super-collabo-friend Allee Willis's site just went explosivo with a new look and lots of new content. If you've never been there or haven't seen it in a while, get thee to www.alleewillis.com.

It'll shake your brain until the good stuff floats to the top.

        

If you read this blog (does anyone read this blog?), you hear me mention Full Sail Universty quite a bit. Here's a video glimpse into my alma mater, now grown into an even more hulking, brain-smashing temple of technological wonderment.

Interviewed here is Garry Jones, one of the founders and easily one of the top ten most influential people in both my career and the way I approach life.

        

Another informative video for those with an interest in writing for reality tv. 

        

I've spent 30 plus years in glasses, but never had as much fun getting a new pair as I did from Gogosha in Silverlake. Go! Patronize! I command thee!

Okay, how about if I just act nice and suggest it?

And as long as you're there, go across the street and have the best fish taco you've ever had.

http://gogosha.tumblr.com/

        

Okay, it's no secret that I've been a great proponent of organizing reality television writers, but today a discussion with a dear friend and reality producer drove me over the edge. 

Once again, I was offered the argument that reality television shows can't afford to go union (you know, like Gary Benz's wonderful INTERVENTION, which is WGA signatory, and DANCING WITH THE STARS, which is WGA signatory if only to the benefit of the wunnerful Mr. Dave Boone) because reality television shows can't be reaired. There's just no shelf-life, my friend argues.

In the past few months alone, I've watched the same episodes of many shows multiple times on cable networks like HGTV and others, and have seen my own work on THE BACHELOR, FLIPPING OUT and THE SURREAL LIFE reaired on networks other than those they originated on.

I'm passionate about organizing, but have always considered myself a pretty civil guy about it. The "there's no money in the aftermarket" argument for ever-decreasing non-union story rates, though, is really getting under my skin.

By the way, I've heard of some younger story producers taking jobs at 1000-1200 a week, and just wanted to let you know that most of the folks I know that are worth their salt are commanding two thousand to twenty eight hundred a week. Taking low-paying jobs, in the absence of minimums being set by a collective bargaining agreement, only serves to lower the bar and reduce your future earnings. You've getting your foot in the door to a business you're simultaneously hurting your earning potential in... so get the rate you deserve, and remember --- if you turn one down, there's always another job.