"The Widow", kitsch example of late 19th century popular lithograph of a humorous painting by Frederick Dielman.

Kitsch (/ˈkɪtʃ/; loanword from German) is a form of art that is considered an inferior, tasteless copy of an extant style of art or a worthless imitation of art of recognized value. The concept is associated with the deliberate use of elements that may be thought of as cultural icons^[1] while making cheap mass-produced objects that are unoriginal. Kitsch also refers to the types of art that are aesthetically deficient (whether or not being sentimental, glamorous, theatrical, or creative) and that make creative gestures which merely imitate the superficial appearances of art through repeated conventions and formulae. Excessive sentimentality often is associated with the term.

The contemporary definition of kitsch is considered derogatory, denoting works executed to pander to popular demand alone and purely for commercial purposes rather than works created as self-expression by an artist.^[2] The term is generally reserved for unsubstantial and gaudy works that are calculated to have popular appeal and are considered pretentious and shallow rather than genuine artistic efforts.^[3]

The concept of kitsch is applied to artwork that was a response to the 19th century art with aesthetics that convey exaggerated sentimentality and melodrama, hence, kitsch art is closely associated with sentimental art.

Etymology[link]

As a descriptive term, kitsch originated in the art markets of Munich in the 1860s and the 1870s, describing cheap, popular, and marketable pictures and sketches.^[4] In Das Buch vom Kitsch (The Book of Kitsch), Hans Reimann defines it as a professional expression “born in a painter's studio”. Writer Edward Koelwel rejects the suggestion that kitsch derives from the English word sketch, noting how the sketch was not then in vogue, and saying that kitsch art pictures were well-executed, finished paintings rather than sketches.^{[citation needed]}

History[link]

This "History" section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2010)

Early uses of the term[link]

Kitsch appealed to the crass tastes of the newly moneyed Munich bourgeoisie, who allegedly thought they could achieve the status they envied in the traditional class of cultural elites by aping, however clumsily, the most apparent features of their cultural habits.

Kitsch became defined as an aesthetically impoverished object of shoddy production, meant more to identify the consumer with a newly acquired class status than to invoke a genuine aesthetic response. In this sense, the word eventually came to mean "a slapping together" (of a work of art).

Kitsch was considered morally dubious and to have sacrificed aesthetic life to a pantomime of aesthetic life, usually, but not always, in the interest of signaling one's class status.

Relationship to aesthetics debated[link]

Immanuel Kant contributed greatly to the philosophical definition of fine art, setting values that could be used to identify kitsch

There is a philosophical background to kitsch criticism, however, which is largely ignored. A notable exception to the lack of such debate is Gabrielle Thuller, who points to how kitsch criticism is based on Immanuel Kant's philosophy of aesthetics.

Kant describes the direct appeal to the senses as "barbaric". Thuller's point is supported by Mark A. Cheetham, who points out that kitsch "is his Clement Greenberg's barbarism". A source book on texts critical of kitsch underlines this by including excerpts from the writings of Kant and Schiller.

One, thus, has to keep in mind two things: a) Kant's enormous influence on the concept of "fine art" (the focus of Cheetham's book), as it came into being in the mid to late 18th century, and b) how "sentimentality" or "pathos", which are the defining traits of kitsch, do not find room within Kant's "aesthetical indifference".

Kant also identified genius with originality. One could say he implicitly was rejecting kitsch, the presence of sentimentality and the lack of originality being the main accusations against it.

When originality alone is used to determine artistic genius, using it as a single focus may become problematic when the art of some periods is examined. In the Baroque period, for example, a painter was hailed for his ability to imitate other masters, one such imitator being Luca Giordano.

Another influential philosopher writing on fine art was Georg Wilhelm Friedrich Hegel, who emphasized the idea of the artist belonging to the spirit of his time, or zeitgeist.

As an effect of these aesthetics, working with emotional and "unmodern" or "archetypical" motifs was referred to as kitsch from the second half of the 19th century on. Kitsch is thus seen as "false".

As Thomas Kulka writes, "the term kitsch was originally applied exclusively to paintings", but it soon spread to other disciplines, such as music. The term has been applied to painters, such as Ilya Repin,^[5] and composers, such as Pyotr Ilyich Tchaikovsky, whom Hermann Broch refers to as "genialischer kitsch", or "kitsch of genius".^[6][7]

Roda Roda claimed in a 1906 newspaper article to be the only person who knew the true origin of "kitsch," which - according to him - derived from "ver" and "kitt", or putting, pasting, etc. something together wrong.

Art and kitsch defined as opposites[link]

The word, kitsch, was popularized in the 1930s by the art theorists Theodor Adorno, Hermann Broch, and Clement Greenberg, who each sought to define avant-garde and kitsch as opposites. The art world of the time perceived the immense popularity of kitsch as a threat to culture. The arguments of all three theorists relied on an implicit definition of kitsch as a type of false consciousness, a Marxist term meaning a mindset present within the structures of capitalism that is misguided as to its own desires and wants. Marxists believe there to be a disjunction between the real state of affairs and the way that they phenomenally appear.

Puppy, a gigantic kitsch sculpture by Jeff Koons displayed at Bilbao Museum has appeal described by Adorno and Broch

Adorno perceived this in terms of what he called the "culture industry", where the art is controlled and formulated by the needs of the market and given to a passive population which accepts it—what is marketed is art that is non-challenging and formally incoherent, but which serves its purpose of giving the audience leisure and something to watch or observe. It helps serve the oppression of the population of capitalism by distracting them from their social alienation. Contrarily for Adorno, art is supposed to be subjective, challenging, and oriented against the oppressiveness of the power structure. He claimed that kitsch is parody of catharsis and a parody of aesthetic experience.

Broch called kitsch "the evil within the value-system of art"—that is, if true art is "good", kitsch is "evil". While art was creative, Broch held that kitsch depended solely on plundering creative art by adopting formulas that seek to imitate it, limiting itself to conventions and demanding a totalitarianism of those recognizable conventions. Broch accuses kitsch of not participating in the development of art, having its focus directed at the past, as Greenberg speaks of its concern with previous cultures. To Broch, kitsch was not the same as bad art; it formed a system of its own. He argued that kitsch involved trying to achieve "beauty" instead of "truth" and that any attempt to make something beautiful would lead to kitsch. Consequently, he opposed the Renaissance to Protestantism.

Greenberg held similar views to Broch concerning the beauty and truth dichotomy, believing that the avant-garde style arose in order to defend aesthetic standards from the decline of taste involved in consumer society and that kitsch and art were opposites, which he outlined in his essay "Avant-Garde and Kitsch" which appeared in the Partisan Review in 1939.

Relationship to totalitarianism[link]

Other theorists over time also have linked kitsch to totalitarianism and its propaganda. The Czech writer Milan Kundera, in his book The Unbearable Lightness of Being (1984), defined it as "the absolute denial of shit". He wrote that kitsch functions by excluding from view everything that humans find difficult with which to come to terms, offering instead a sanitized view of the world, in which "all answers are given in advance and preclude any questions".

In its desire to paper over the complexities and contradictions of real life, kitsch, Kundera suggested, is intimately linked with totalitarianism. In a healthy democracy, diverse interest groups compete and negotiate with one another to produce a generally acceptable consensus; by contrast, "everything that infringes on kitsch," including individualism, doubt, and irony, "must be banished for life" in order for kitsch to survive. Therefore, Kundera wrote, "Whenever a single political movement corners power we find ourselves in the realm of totalitarian kitsch."

For Kundera, "Kitsch causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch."

Relationship to academic art[link]

This unreferenced section requires citations to ensure verifiability.

One of Greenberg's more controversial claims was that kitsch was equivalent to academic art: "All kitsch is academic, and conversely, all that is academic is kitsch." He argued this based on the fact that academic art, such as that in the nineteenth century, was heavily centered in rules and formulations that were taught and tried to make art into something that could be taught and easily expressible. He later came to withdraw from his position of equating the two, as it became heavily criticized.

Often nineteenth century academic art still is seen as kitsch, although this view is coming under attack from modern art critics. Broch argued that the genesis of kitsch was in Romanticism, which wasn't kitsch itself, but which opened the door for kitsch taste by emphasizing the need for expressive and evocative art work. Academic art, which continued this tradition of Romanticism, has a twofold reason for its association with kitsch.

This antique kitsch writing set allows the user to rest writing utensils in the buck's antlers

It is not that academic art was found to be accessible. In fact, it was under its reign that the difference between high art and low art first was defined by intellectuals. Academic art strove toward remaining in a tradition rooted in the aesthetic and intellectual experience. Intellectual and aesthetic qualities of the work were certainly there—good examples of academic art even were admired by the avant-garde artists who would rebel against it. There was some critique, however, that in being "too beautiful" and democratic it made art look easy, non-involving, and superficial. According to Tomas Kulka, any academic painting made after the time of academism, is kitsch by nature.

Many academic artists tried to use subjects from low art and ennoble them as high art by subjecting them to interest in the inherent qualities of form and beauty, trying to democratize the art world. In England, certain academics even advocated that the artist should work for the marketplace. In some sense the goals of democratization succeeded and the society was flooded with academic art, with the public lining up to see art exhibitions as they do to see movies today.

This kitsch postcard of Lohengrin was circulated around 1900

Literacy in art became widespread, as did the practice of art making, and there was a blurring of the division between high and low culture. This often led to poorly made or conceived artwork being accepted as high art. Often, art which was found to be kitsch showed technical talent, such as in creating accurate representations, but lacked good taste.

Furthermore, although original in their first expression, the subjects and images presented in academic art were disseminated to the public in the form of prints and postcards, which often actively was encouraged by the artists. These images were copied endlessly in kitschified form until they became well-known clichés.

The avant-garde reacted to these developments by separating itself from aspects of art that were appreciated by the public, such as pictorial representation and harmony, in order to make a stand for the importance of the aesthetic. Many modern critics try not to pigeonhole academic art into the kitsch side of the art-or-kitsch dichotomy, recognizing its historical role in the genesis of both the avant-garde and kitsch.

Postmodernist interpretations[link]

With the emergence of postmodernism in the 1980s, the borders between kitsch and high art again became blurred. One development was the approval of what is called "camp taste" - which may be related to, but is not the same as camp when used as a "gay sensibility".^[8] Camp, in some circles, refers to an ironic appreciation of that which might otherwise be considered corny, such as singer and dancer Carmen Miranda with her tutti-frutti hats, or otherwise kitsch, such as popular culture events that are particularly dated or inappropriately serious, such as the low-budget science fiction movies of the 1950s and 1960s.

A hypothetical example from the world of painting would be a kitsch image of a deer by a lake. In order to make this camp, one could paint a sign beside it, saying "No Swimming". The majestic or romantic impression of a stately animal would be punctured by humor; the notion of an animal receiving a punishment for the breach of the rule is patently ludicrous. The original, serious sentimentality of the motif is neutralized, and thus, it becomes camp.

Some create their own, simple kitsch decorations, such as this angel sculpture

"Camp" is derived from the French slang term camper, which means "to pose in an exaggerated fashion". Susan Sontag argued in her 1964 Notes on "Camp" that camp was an attraction to the human qualities which expressed themselves in "failed attempts at seriousness", the qualities of having a particular and unique style, and of reflecting the sensibilities of the era. It involved an aesthetic of artifice rather than of nature. Indeed, hard-line supporters of camp culture have long insisted that "camp is a lie that dares to tell the truth".

Much of pop art attempted to incorporate images from popular culture and kitsch. These artists strove to maintain legitimacy by saying they were "quoting" imagery to make conceptual points, usually with the appropriation being ironic.

In Italy, a movement arose called the Nuovi-nuovi ("new new"), which took a different route: instead of "quoting" kitsch in an ironic stance, it founded itself in a primitivism which embraced ugliness and garishness, emulating kitsch as a sort of anti-aesthetic.

A different approach is taken by the Norwegian painter Odd Nerdrum, who, in 1998, began to argue for kitsch as a positive term used as a superstructure for figurative, non-ironic, and narrative painting. In 2000, together with several other authors, he composed a book entitled On Kitsch, where he advocated the concept of "kitsch" as a more correct name than "art" for this type of painting. As a result of this redefinition proposed by Nerdrum, an increasing number of figurative painters are referring to themselves as "kitsch painters" and members of The Kitsch Movement^[9][10]

Conceptual art and deconstruction posed as interesting challenges, because, as with kitsch, they downplayed the formal structure of the artwork in favor of elements that enter it by relating to other spheres of life.

Despite this, many in the art world continue to adhere to some sense of the dichotomy between art and kitsch, excluding all sentimental and realistic art from being considered seriously. This has come under attack by critics, who argue for a renewed appreciation of academic art and traditional figurative painting, without the concern for it appearing innovative or new.

In any case, whatever difficulty there is in defining boundaries between kitsch and fine art since the beginning of postmodernism, the word "kitsch" still remains in common use to label anything seen as being in poor taste.

See also[link]

References[link]

Further reading[link]

• Adorno, Theodor (2001). The Culture Industry. Routledge. ISBN 0-415-25380-2
• Braungart, Wolfgang (2002). ”Kitsch. Faszination und Herausforderung des Banalen und Trivialen”. Max Niemeyer Verlag. ISBN 3-484-32112-1/0083-4564.
• Broch, Hermann (2003). Geist and Zeitgeist: The Spirit in an Unspiritual Age. Counterpoint Press. ISBN 1-58243-168-X
• Cheetham, Mark A (2001). ”Kant, Art and Art History: moments of discipline”. Cambridge University Press. ISBN 0-521-80018-8.
• Dorfles, Gillo (1969, translated from the 1968 Italian version, Il Kitsch). Kitsch: The World of Bad Taste, Universe Books. LCCN 78-93950
• Elias, Norbert. (1998[1935]) “The Kitsch Style and the Age of Kitsch,” in J. Goudsblom and S. Mennell (eds) The Norbert Elias Reader. Oxford: Blackwell.
• Gelfert, Hans-Dieter (2000). ”Was ist Kitsch?”. Vandenhoeck & Ruprecht in Göttingen. ISBN 3-525-34024-9.
• Giesz, Ludwig (1971). Phänomenologie des Kitsches. 2. vermehrte und verbesserte Auflage München: Wilhelm Fink Verlag. [Partially translated into English in Dorfles (1969)]. Reprint (1994): Ungekürzte Ausgabe. Frankfurt am Main: S. Fischer Verlag. ISBN 3-596-12034-9 / ISBN 978-3-596-12034-5.
• Greenberg, Clement (1978). Art and Culture. Beacon Press. ISBN 0-8070-6681-8
• Karpfen, Fritz (1925). ”Kitsch. Eine Studie über die Entartung der Kunst”. Weltbund-Verlag, Hamburg.
• Kristeller, Paul Oskar (1990). ”The Modern System of the Arts” (In ”Renaissance Thought and the Arts”). Princeton University Press. ISBN 0-691-02010-1. (pbk.) / 0-691-07253-1.
• Kulka, Tomas (1996). Kitsch and Art. Pennsylvania State University Press. ISBN 0-271-01594-2
• Kundera, Milan (1999). The Unbearable Lightness of Being: A Novel. Harper Perennial. ISBN 0-06-093213-9
• Moles, Abraham (nouvelle édition 1977). Psychologie du Kitsch: L’art du Bonheur, Denoël-Gonthier
• Nerdrum, Odd (Editor) (2001). On Kitsch. Distributed Art Publishers. ISBN 82-489-0123-8
• Olalquiaga, Celeste (2002). The Artificial Kingdom: On the Kitsch Experience. University of Minnesota ISBN 0-8166-4117-X
• Reimann, Hans (1936). ”Das Buch vom Kitsch”. Piper Verlag, München.
• Richter, Gerd, (1972). Kitsch-Lexicon, Bertelsmann. ISBN 3-570-03148-9
• Shiner, Larry (2001). ”The Invention of Art”. University of Chicago Press. ISBN 0-226-75342-5.
• Thuller, Gabrielle (2006 and 2007). "Kunst und Kitsch. Wie erkenne ich?", ISBN 3-7630-2463-8. "Kitsch. Balsam für Herz und Seele", ISBN 978-3-7630-2493-3. (Both on Belser-Verlag, Stuttgart.)
• Ward, Peter (1994). Kitsch in Sync: A Consumer’s Guide to Bad Taste, Plexus Publishing. ISBN 0-85965-152-5
• "Kitsch. Texte und Theorien", (2007). Reclam. ISBN 978-3-15-018476-9. (Includes classic texts of kitsch criticism from authors like Theodor Adorno, Ferdinand Avenarius, Edward Koelwel, Walter Benjamin, Ernst Bloch, Hermann Broch, Richard Egenter, etc.).

External links[link]

Wikimedia Commons has media related to: Kitsch

• "Kitsch". In John Walker's Glossary of art, architecture & design since 1945.
• Avant-Garde and Kitsch—essay by Clement Greenberg
• Kitsch and the Modern Predicament—essay by Roger Scruton
• world wide kitsch—kitsch painters and writers
• Why Dictators Love Kitsch by Eric Gibson, The Wall Street Journal, August 10, 2009

A major contributor to this article appears to have a close connection with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. Please discuss further on the talk page. (October 2011)

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (January 2011)

Allee Willis (born November 10, 1947) is an American, Grammy Award-winning songwriter, artist, set designer, multimedia artist, writer, collector and director.

Overview[link]

In 1995 Willis was nominated for an Emmy for her #1 hit, "I'll Be There for You", the theme from Friends, one of the best selling television themes of all time. In 1985 she won a Grammy for Best Soundtrack for Beverly Hills Cop. Her songs have sold over 50,000,000 records, including "September" and "Boogie Wonderland" by Earth, Wind & Fire, "Neutron Dance" by the Pointer Sisters, "What Have I Done to Deserve This?" by Pet Shop Boys with Dusty Springfield, and "Lead Me On" by Maxine Nightingale. Willis has collaborated with hundreds of leading artists and composers from all fields of music, including Bob Dylan, James Brown, Herbie Hancock, Deniece Williams and Motown legend Lamont Dozier. She co-authored the Broadway musical version of The Color Purple, based on the Pulitzer Prize winning book by Alice Walker and film by Steven Spielberg, which opened on Broadway at the Broadway Theater on December 1, 2005, and continues on national tour.

In September, 2009, Willis opened The Allee Willis Museum Of Kitsch,  a virtual museum and social network at AWMoK.com built around Willis' world renowned collection as well as user submissions that Willis curates. 

Willis is also an accomplished artist and designer, selling thousands of paintings, sculptures, ceramics and furniture designs, many with her alter-ego, Bubbles the artist. From 1986-1990 she participated in the set and furniture design of Pee-wee's Playhouse. In 1999, Bubbles and Willis collaborated with Lily Tomlin to build lilytomlin.com, a non-linear exploration of Tomlin's Tony-winning show, The Search for Signs of Intelligent Life in the Universe. Willis and Bubbles video, "It's a Woman Thang" was named an Official Honoree in the viral category of the 2008 Webby Awards. As early as 1992, Willis was one of the first pop artists to have a presence in cyberspace, developing willisville, a prototype for a visual collaborative social network and story-driven online world that linked to all traditional pop media and mobile devices. Willis also consulted for various technology and entertainment companies throughout the 1990s including America Online, Microsoft, Silicon Graphics, Fox, Warner Bros., Disney and Intel, who also funded the partial development of willisville. In 1997, she addressed the U.S. House of Representatives Judiciary Subcommittee on Courts and Intellectual Property regarding artist rights in cyberspace.

History[link]

Willis grew up in Detroit, Michigan and graduated from Mumford High School; she would later earn a degree in Journalism from the University of Wisconsin–Madison. Willis then made her way to New York and became a copywriter for Columbia and Epic Records; writing liner notes, print ads and radio commercials for the label's female and black acts — many of whom she went on to write songs for. She recorded an album of the first ten songs she ever wrote, “Childstar”, on Epic Records and was discovered by Bonnie Raitt and Patti LaBelle when they started recording her songs in the late 1970s.

From 1986 to 1988 Willis had her own column in Details Magazine. It was in that magazine that she introduced her proudest musical find, the Del Rubio Triplets, 70-plus year old 'singing' sisters in mini skirts and go boots who went on to appear in over 20 network shows and tour around the world.

From 1987 to 1991 Willis directed many music videos including ones for Debbie Harry, The Cars and Heart. She also designed and built the sets for MTV's first music clip show, "Just Say Julie".

Willis has collected Atomic 50's, Soul and Kitsch artifacts since the late 1960s and has one of the oldest and most documented collections in the world. Her Kitsch O' The Day blog, started in March, 2009, features one item from the collection per day.

Songs written by Allee Willis[link]

• "Does She Love Me?" — Stallionaires
• The Color Purple (musical) — Original Broadway Cast Recording
• "September" — Earth, Wind & Fire
• "God Knows" — Deniece Williams
• "Neutron Dance" — The Pointer Sisters
• "Boogie Wonderland" — Earth Wind & Fire with The Emotions
• "What Have I Done to Deserve This?" — Pet Shop Boys with Dusty Springfield
• "I'll Be There for You" — Theme from Friends
• "Lead Me On" — Maxine Nightingale
• "Stir It Up" — Patti LaBelle
• "In The Stone" — Earth Wind & Fire
• "I Am Love" — Jennifer Holliday
• "Shaker Song" — The Manhattan Transfer
• "Who Let in the Rain" — Cyndi Lauper
• "Come What May" — Patti LaBelle
• "Sunday Morning" — Earth Wind & Fire
• "Live My Life" — Boy George
• "The Blue Side" — Crystal Gayle
• "I Shoulda Loved Ya" — Narada Michael Walden
• "Little Girls" — Patti LaBelle
• "It's a Woman Thang" — Bubbles & Cheesecake
• "Jungle Animal" — Pomplamoose

Soundtrack filmography[link]

Willis songs often appear in films, occasionally re-recorded by a member of the cast.

Partial listing:

• "Boogie Wonderland"

Written by: Allee Willis

Appears in: Happy Feet (2006)

Lyrics Performed by: Brittany Murphy

Published by: Atlantic/WEA

• "Boogie Wonderland"

Written by: Allee Willis

Performed by: Earth, Wind & Fire

Appears in: The Intouchables (2012) Distributed by The Weinstein Company (US)

Appears in: Madagascar (2005)

• "September"

Written by: Allee Willis

Performed by: Earth, Wind & Fire

Appears in: The Intouchables (2012) Distributed by The Weinstein Company (US)

Appears in: Babel (2006)

Appears in: Night at the Museum (2006)

Appears in: The Ringer (2005)

Appears in: Get Over It! (2001)

• "In the Stone"

Written by: Allee Willis

Performed by: Earth, Wind & Fire

Appears in: Drumline (2002)

• "Where Did You Get Those Pants"

Written by: Allee Willis

Performed by: Fishbone

Appears in: High Fidelity (2000)

• "Planet Love"

Written by: Allee Willis

Performed by: Taylor Dayne

Appears in: Flawless (1999)

• "You're The Best"

Lyrics: Allee Willis

Appears in: Futurama TV Series (1999)

• "You're The Best"

Written by: Allee Willis

Performed by: Joe Esposito

Appears in: The Karate Kid (1984)

• "Transparent"

Written by: Allee Willis

Performed by: Nona Hendryx

Appears in: Coming to America (1988)

• "Live My Life"

Written by: Allee Willis

Performed by: Boy George

Appears in: Hiding Out aka Adult Education (US) (1987)

• "Neutron Dance"

Written by: Allee Willis

Performed by: Pointer Sisters

Appears in: Beverly Hills Cop (1984)

• "Stir It Up"

Written by: Allee Willis

Performed by: Patti LaBelle

Appears in: Beverly Hills Cop (1984)

Appears in: Chicken Little (2005)

• "No Jinx"

Music and lyrics written by: Allee Willis

Performed by: Bette Midler

Appears in: Jinxed! (1983)

• "Any Fool Could See"

Music and lyrics written by: Allee Willis

Performed by: Julie Budd

Appears in: The Devil and Max Devlin 1981)

References[link]

External links[link]

• Allee Willis Music is the official Allee Willis website with pictures, some history behind the songs as well as sound bites and articles.
• The Allee Willis Museum of Kitsch
• Allee Willis Blog and Kitsch O The Day
• Bubbles the Artist — is the official Bubbles the Artist website, featuring collectible art.
• Allee Willis at the Internet Movie Database
• Pop Music and the New Musical - Working in the Theatre Seminar video at American Theatre Wing.org, September 2005
• Audio interview with Allee Willis on the Sodajerker on Songwriting podcast

David Letterman
Letterman performing on his show in June 2011.
Pseudonym	Earl Hofert
Born	(1947-04-12) April 12, 1947 (age 65) Indianapolis, Indiana, United States[1]
Medium	Stand-up, talk show
Nationality	American
Years active	1974–present
Genres	Observational comedy, surreal humor, deadpan
Subject(s)	Self-deprecation, everyday life
Influences	Steve Allen,[citation needed] Johnny Carson,[2] Jack Paar,[citation needed] Paul Dixon[3]
Influenced	Jimmy Kimmel, Jim Gaffigan, Jon Stewart, Conan O'Brien, Jimmy Fallon
Spouse	Michelle Cook (1969–1977) Regina Lasko (2009–present)
Domestic partner(s)	Regina Lasko (1986–2009)
Notable works and roles	Host of The David Letterman Show (NBC) Host of Late Night with David Letterman (NBC) Host of Late Show with David Letterman (CBS)
Signature
Website	CBS.com/latenight/lateshow
Emmy Awards
Outstanding Host or Hostess in a Variety Series 1981 The David Letterman Show Outstanding Individual Achievement — Writers 1981 The David Letterman Show Outstanding Writing in a Variety or Music Program 1984 Late Night with David Letterman 1985 Late Night with David Letterman 1986 Late Night with David Letterman 1987 Late Night with David Letterman Outstanding Variety, Music or Comedy Series 1994 Late Show with David Letterman
American Comedy Awards
Funniest Male Performer in a TV Special (Leading or Supporting) Network, Cable or Syndication 1989 Late Night with David Letterman 1995 Late Show with David Letterman: Video Special Funniest Male Performer in a TV Series (Leading Role) Network, Cable or Syndication 1994 Late Show with David Letterman 2001 Late Show with David Letterman

David Michael Letterman (born April 12, 1947) is an American television host and comedian.^[1] He hosts the late night television talk show, Late Show with David Letterman, broadcast on CBS. Letterman has been a fixture on late night television since the 1982 debut of Late Night with David Letterman on NBC. Letterman recently surpassed friend and mentor Johnny Carson for having the longest late-night hosting career in the United States of America.^[4]

Letterman is also a television and film producer. His company Worldwide Pants produces his show as well as its network follow-up The Late Late Show with Craig Ferguson. Worldwide Pants has also produced several prime-time comedies, the most successful of which was Everybody Loves Raymond, currently in syndication.

In 1996, David Letterman was ranked #45 on TV Guide's 50 Greatest TV Stars of All Time.^[5]

Early life and career[link]

Letterman was born in Indianapolis, Indiana. His father, Harry Joseph Letterman (April 1915 – February 1973),^[6] was a florist of British descent; his mother Dorothy Letterman (née Hofert, now Dorothy Mengering), a Presbyterian church secretary of German descent, is an occasional figure on the show, usually at holidays and birthdays.

Letterman lived on the north side of Indianapolis (Broad Ripple area), not far from Speedway, IN, and the Indianapolis Motor Speedway, and he enjoyed collecting model cars, including racers.^[7] In 2000, he told an interviewer for Esquire that, while growing up, he admired his father's ability to tell jokes and be the life of the party. Harry Joseph Letterman survived a heart attack at age 36, when David was a young boy. The fear of losing his father was constantly with Letterman as he grew up.^[8] The elder Letterman died of a second heart attack^[9] at age 57.

Letterman attended his hometown's Broad Ripple High School at the same time as Marilyn Tucker (future wife of Dan Quayle) and worked as a stock boy at the local Atlas supermarket.^[10] According to the Ball State Daily News, he originally had wanted to attend Indiana University, but his grades weren't good enough, so he decided to attend Ball State University, in Muncie, Indiana.^[11] He is a member of the Sigma Chi Fraternity, and he graduated from what was then the Department of Radio and Television, in 1969. A self-described average student, Letterman endowed a scholarship for what he called "C students" at Ball State.^[12]

Though he registered for the draft and passed his physical after graduating from college, he was not drafted for service in Vietnam due to receiving a draft lottery number of 352 (out of 365).^[13]

Letterman began his broadcasting career as an announcer and newscaster at the college's student-run radio station—WBST—a 10-watt campus station which now is part of Indiana Public Radio.^[14] He was fired for treating classical music with irreverence.^[14]

Letterman then became involved with the founding of another campus station—WAGO-AM 570 (now WWHI, 91.3).^[15]

Letterman credits Paul Dixon—host of the Paul Dixon Show, a Cincinnati-based talk show also shown in Indianapolis while Letterman was growing up—for inspiring his choice of career:^[3]

"I was just out of college [in 1969], and I really didn't know what I wanted to do. And then all of a sudden I saw him doing it [on TV]. And I thought: That's really what I want to do!"

Weatherman[link]

Letterman began his career as a radio talk show host on WNTS (AM), and on Indianapolis television station WLWI (now called WTHR) as an anchor, and weatherman. He received some attention for his unpredictable on-air behavior, which included congratulating a tropical storm for being upgraded to a hurricane and predicting hail stones "the size of canned hams."^[16] He would also occasionally report the weather and the day's very high and low temps for fictitious cities ("Eight inches of snow in Bingree and surrounding areas.") while on another occasion saying that a state border had been erased.^[17] ("From space you can see the border between Indiana and Ohio has been erased. I'm not in favor of this.") He also starred in a local kiddie show, made wisecracks as host of a late night TV show called "Freeze-Dried Movies" (he once acted out a scene from "Godzilla" using plastic dinosaurs),^[18] and hosted a talk show that aired early on Saturday mornings called "Clover Power,"^[19] in which he interviewed 4-H members about their projects.^[20]

In 1971, Letterman appeared as a pit road reporter for ABC Sports' tape-delayed coverage of the Indianapolis 500.^[21] David initially is introduced as Chris Economaki in his job as a corner reporter. Letterman interviews Mario Andretti who has just crashed out of the race and asks him a question about traffic on the course.

Move to Los Angeles[link]

In 1975, encouraged by his then-wife Michelle and several of his Sigma Chi fraternity brothers, Letterman moved to Los Angeles, California, with hope of becoming a comedy writer.^[22] He started off by writing material for comedian Jimmie Walker.^[23] He also began performing stand-up comedy at The Comedy Store, a proving ground for unknown comics.

In the summer of 1977, Letterman was a writer and regular on the six-week summer series The Starland Vocal Band Show, broadcast on CBS.^[24] He hosted a 1977 pilot for a game show entitled The Riddlers^[25][26] that was never picked up and co-starred in the Barry Levinson-produced comedy special Peeping Times that aired in January 1978. Later that year, Letterman was a cast member on Mary Tyler Moore's variety show, Mary.^[27] Letterman made a guest appearance on Mork & Mindy (as a parody of EST leader Werner Erhard^[28]) and appearances on game shows such as The $20,000 Pyramid,^[29] The Gong Show, Password Plus^[30] and Liar's Club, as well as talk shows such as The Mike Douglas Show.^[31] He was also screen tested for the lead role in the 1980 film Airplane!, a role that eventually went to Robert Hays.^[32]

His dry, sarcastic humor caught the attention of scouts for The Tonight Show Starring Johnny Carson, and Letterman was soon a regular guest on the show. Letterman became a favorite of Carson's and was a regular guest host for the show beginning in 1978. Letterman credits Carson as the person who influenced his career the most.^[2]

NBC[link]

Letterman at the 38th Primetime Emmy Awards in 1986

Morning show[link]

On June 23, 1980, Letterman was given his own morning comedy show on NBC, The David Letterman Show. It was originally 90 minutes long, but was shortened to 60 minutes in August 1980.^[33] The show was a critical success, winning two Emmy Awards, but was a ratings disappointment and was canceled in October 1980.

[edit] Late Night with David Letterman

NBC kept Letterman under contract to try him in a different time slot. Late Night with David Letterman debuted February 1, 1982; the first guest on the first show was Bill Murray.^[34] Murray also guested on January 31, 2012 – 30 years later. The show ran Monday through Thursday at 12:30 a.m. Eastern Time, immediately following The Tonight Show Starring Johnny Carson (a Friday night broadcast was added in June 1987). It was seen as being edgy and unpredictable, and soon developed a cult following (particularly among college students). Letterman's reputation as an acerbic interviewer was borne out in verbal sparring matches with Cher^[35] (who even called him an asshole on the show), Shirley MacLaine,^[36] Charles Grodin, and Madonna. The show also featured comedy segments and running characters, in a style heavily influenced by the 1950s and 1960s programs of Steve Allen.^[37] Although Ernie Kovacs is often cited as an influence on the show,^[38] Letterman has denied this.^[2]

The show often featured quirky, genre-mocking regular features, including "Stupid Pet Tricks^[39] ", dropping various objects off the roof of a five-story building,^[40] demonstrations of unorthodox clothing (such as suits made of Alka-Seltzer,^[41] Velcro^[42] and suet), a recurring Top 10 list, the Monkey-Cam^[43] (and the Audience Cam), and a facetious letter-answering segment.^[44] The Top 10 list, several "Film[s] by My Dog Bob" in which a camera was mounted on Letterman's own dog^[45] (often with comic results), Stupid Human Tricks,^[46] Small Town News,^[47] and Stupid Pet Tricks^[48] (which had its origins on Letterman's morning show) all eventually moved with Letterman to CBS.

Other memorable moments included Letterman using a bullhorn to interrupt a live interview on The Today Show, announcing that he was the NBC president while not wearing any pants; interrupting Al Roker on WNBC-TV's broadcast of Live at Five by walking into their studio (which occupied the same floor of 30 Rockefeller Plaza as Letterman's studio); and staging "elevator races", complete with commentary by NBC Sports' Bob Costas. In one infamous appearance, in 1982, Andy Kaufman (who was already wearing a neck brace) appeared to be slapped and knocked to the ground by professional wrestler Jerry Lawler (though Lawler and Kaufman's friend Bob Zmuda later revealed that the event was staged.)^[49] In another memorable exchange, sex expert Dr. Ruth Westheimer included cucumbers in a list of handy sex objects that women could find at home. The following night, guest Ted Koppel asked Letterman "May I insert something here?" and Dave responded "OK, as long as it's not a cucumber."^{[citation needed]}

[edit] Late Show with David Letterman

The Ed Sullivan Theater, where Late Show with David Letterman is recorded

In 1992, Johnny Carson retired, and many fans believed that Letterman would become host of The Tonight Show. When NBC instead gave the job to Jay Leno, Letterman departed NBC to host his own late-night show on CBS, opposite The Tonight Show at 11:30 p.m., called the Late Show with David Letterman. The new show debuted on August 30, 1993 and was taped at the historic Ed Sullivan Theater, where Ed Sullivan taped his eponymous variety series from 1948 to 1971. For Letterman's arrival, CBS spent $8 million in renovations.^[50] In addition to that cost, CBS also signed Letterman to a lucrative three-year, $14 million/year contract,^[51] doubling his Late Night salary. The total cost for everything (renovations, negotiation right paid to NBC, signing Letterman, announcer Bill Wendell, Shaffer, the writers and the band) was over $140 million.

But while the expectation was that Letterman would retain his unique style and sense of humor with the move, Late Show was not an exact replica of his old NBC program. Recognizing the more formal mood (and wider audience) of his new time slot and studio, Letterman eschewed his trademark blazer with khaki pants and white sneakers wardrobe combination in favor of expensive shoes, tailored suits and light-colored socks. The monologue was lengthened and Paul Shaffer and the "World's Most Dangerous Band" followed Letterman to CBS, but they added a brass section and were rebranded the "CBS Orchestra" as a short monologue and a small band were mandated by Carson while Letterman occupied the 12:30 slot. Additionally, because of intellectual property disagreements, Letterman was unable to import many of his Late Night segments verbatim,^[52] but he sidestepped this problem by simply renaming them (the "Top Ten List" became the "Late Show Top Ten", "Viewer Mail" became the "CBS Mailbag", etc.)

Popularity[link]

The main competitor of The Late Show is NBC's The Tonight Show, which was hosted by Jay Leno for nearly 16 years, but from June 1, 2009, to January 22, 2010, was hosted by Conan O'Brien. In 1993 and 1994, The Late Show consistently gained higher ratings than The Tonight Show. But in 1995, ratings dipped and Leno's show consistently beat Letterman's in the ratings from the time that Hugh Grant came on Leno's show after Grant's arrest for soliciting a prostitute.;^[53] Leno typically attracted about 5 million nightly viewers between 1999 and 2009. The Late Show lost nearly half its audience during its competition with Leno, attracting 7.1 million viewers nightly in its 1993–94 season and about 3.8 million per night as of Leno's departure in 2009.^[54] In the final months of his first stint as host of The Tonight Show, Leno beat Letterman in the ratings by a 1.3 million viewer margin (5.2 million to 3.9 million), and Nightline and The Late Show were virtually tied.^[55] Once O'Brien took over Tonight, however, Letterman closed the gap in the ratings.^[56][57][58] O'Brien initially drove the median age of Tonight Show viewers from 55 to 45, with most older viewers opting to watch The Late Show instead.^[59]

Following Leno's return to The Tonight Show, however, Leno has regained his lead.^[60]

Letterman's shows have garnered both critical and industry praise, receiving 67 Emmy Award nominations, winning 12 times in his first 20 years in late night television. From 1993–2009, Letterman ranked higher than Leno in the annual Harris Poll of Nation's Favorite TV Personality 12 times.^[61] For example, in 2003 and 2004 Letterman ranked second in that poll, behind only Oprah Winfrey, a year that Leno was ranked fifth.^[62] Leno was higher than Letterman on that poll three times during the same period, in 1998, 2007, and 2008.^[61]

Hosting the Academy Awards[link]

On March 27, 1995, Letterman acted as the host for the 67th Academy Awards ceremony. Critics blasted^[63] Letterman for what they deemed a poor hosting of the Oscars, noting that his irreverent style undermined the traditional importance and glamor of the event.^{[citation needed]} In a joke about their unusual names (inspired by a similar joke by Woody Allen), he started off by introducing Uma Thurman to Oprah Winfrey, and then both of them to Keanu Reeves: "Oprah...Uma. Uma...Oprah," "Have you kids met Keanu?"^[64] This and many of his other jokes fell flat.^{[citation needed]} Although Letterman attracted the highest ratings to the annual telecast since 1983, many felt that the bad publicity garnered by Letterman's hosting caused a decline in the Late Show's ratings.^[65]