Vanity Fair's Women on Women by Radhika Jones
Author:Radhika Jones
Language: eng
Format: epub
Publisher: Penguin Publishing Group
Published: 2019-10-29T00:00:00+00:00
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John and Michelle bought 1930s actress-singer Jeanette McDonaldâs grand Bel Air mansion. Lou was already living in that Old Guard hillock of estates, as was Beach Boy Brian Wilson, whoâd painted his house purplish-pink. âJohn and Michelle kept peacocks,â Lou says, âwho make a sound like women being raped,â and they would stroll the streets in their shimmery, sultan-worthy Profile du Monde caftans, intriguing the neighbors. They were always having big parties, for not only the Laurel Canyon rockers but also that hitherto separate species: movie stars. âEveryone came: Ryan OâNeal, Marlon Brando, Mia Farrow, Peter Sellers, even Zsa Zsa Gabor,â says Michelle. âOne night I had to ask Warren Beatty to leave the house because he was screwing some girl in the nursery [that was being prepared for Chynnaâs imminent birth].â
âI didnât feel comfortable in that house; it was darkâand so was Johnâs vibe,â says Leah Kunkel. Tamar remembers âJohn not letting Michelle come out, once when I went to see her.â There was only one incident of domestic violence. âIt was serious,â Michelle says. âI ended up in the hospital. Thatâs all Iâll say about it.â
Still, âspring and summer 1967, that was the moment,â Michelle recalls fondly. And a brief, shining moment it was, when everything that immediately thereafter would be sale-priced as a silly cliché was suddenly wildly glamorous: beautiful sybarites wafting around in clothes from other centuries; life as a sensual, acid-fueled private joke. At a meeting at the house with Lou, John and Michelle were asked by a music promoter to perform at a 12-hour music festival he was organizing. John and Lou, along with singer-songwriters Paul Simon and Johnny Rivers and producer Terry Melcher, bought the investor out, turned the festival into a charitable event, and expanded it to three days. They secured the Monterey Fairgrounds, which had jazz and folk festivals, as the venue in order to validate rock. Michelle manned the phones at the festivalâs office on Sunset Boulevard every day, calling record executives, culling sponsors. There was a problem when the San Francisco groups at the heart of the new sensibility balked. âJohn and I represented what they didnât like about the business. [We were] slick, we were successful,â and, says Lou, relatively Establishment. Only the persuasiveness of beloved Bay Area music columnist Ralph Gleason enabled the world to view the Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company. (Janis Joplin was so much still the striving Texas naïf that she performed in a ribbed-knit pantsuit.)
The Monterey Pop Festival also premiered the electrifying sight of Seattle urchin turned 101st Airborne paratrooper turned British sensation Jimi Hendrix making love to his guitar and then immolating it. Laura Nyro, whose amazing soul operatics and zaftig, black-gowned appearance were decidedly non-psychedelic, knew that she had bombed and, worse, was sure sheâd heard boos. She left the stage crying hysterically. (âLaura carried the baggage of that booing all her life,â Michelle says. In a tragic irony worthy of Maupassant, in the 1990s Lou and Michelle listened closely to the tapes of Lauraâs performance.
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