Saturday, August 29, 2020

Website Morphing from Arty Interests into Lifestyle offerings

 I have my baby, my website entitled: (now under construction, yes I am morphing again)

I had known all along that I  intended to include affiliate marketing, but once it happened & I was getting approved right & left as a host, it hit me that I need to revamp the whole thing!

I understood that the companies that were approaching me with their approvals all represented my own way of thinking & shopping. Having created an opaque lifestyle sampling. I coined "a lifestyle emporium for the independent creative" it?

For the majority of the lines, I went through Rakuten Affiliates.

I could be assured they companies were all legitimate & well-established. I grouped the product lines into the following tabs with links to each company:

   Be Artful:  The Metropolitan Museum of Art

                           Marimekko Design

  Be Happy:  Moroccan Oil

                        Dr. Martens

    Be Thoughtful:  Franklin Planners


  Be Well:    Boomer Naturals



  Be Hydrated:  Buddha Teas

   Pegalomania: Paper-dolls

                        Peg's Legs Handknit Dancewear

                        Video Archive

Tuesday, August 4, 2020

Pegalomania Presents

In 2004 I finished writing, or so I thought, my original play with original music thus creating a musical in the traditional form.

My place in time is located in NYC in the 1970s, so although I have written bits & pieces of music, the music I have chosen for the sound-bed, is actually historical rock, pop, & folk. I was living with a classical musician, with Bach fugues & guitar scales as a constant, being peppered with temper tantrums & sulking that only the truly brooding artist can admire.

When I did go to college, later in life than most, I was tasked with a  homework assignment to write an experience that we had where we lived in a culture other than our own. Since I had grown up in a small logging town in California, & had married into an old money New York family, I asked my instructor if that would suffice to satisfy the assignment criteria for my "Ethnography". She said sure, so I began. Twenty years later I had put the meanderings, comments, scraps of memory & movement, I had been a serious dancer, into a four part script. I did this to present to TV producers, but now this format is irrelevant, an easy fix, so one with the show!

Fortunately, today there are means of notating music that do not require 20 years of study, but a computer program will do. For an amateur as myself, with only melody lines & lyrics to put forth, I will happily hire an audio wizard to mix the classical ballet scores, Bach fugues, Joni Mitchell, Jimi Hendrix & my own songs into something rather fabulous. Yes, alas, this is where my "gofundme" rests.

Because of my antiquity, I can no longer do my grande battements or pirouette on pointe, but I can choreograph & direct my show. Small cast, big ideas, no in person audience, due to Covid19 this has led me to the  realization, I could cast & produce my show in a video format...back to "gofundme".

If any of this interests the reader, my best email address is:
I prefer email so that we both have a paper trail that time-stamped, any money discussed is documented, & any grievances notated. I use Paypal for any money exchanges because they have an excellent record keeping function.

Below is my gofundme account link. Should you be so kind as to read through my account description, that would be great. I did the digital stage scene drawing. 
Thank you & God bless.

Monday, July 20, 2020

Real Estate Exodus & Regulation

Carson Mansion Photo Converted by Peggy Molloy

Real Estate Exodus & Regulation

I have begun to study Real Estate for a salesperson license in the state of California.
No sooner had I signed up & begun the coursework, but the state was locked down for the first time, due to the Covid19 Pandemic.

Due to the Pandemic, the state exam offices have been shut, then re-opening to backlogs of exams to be scheduled. Long story short, I insist on making lemonade out of lemons, & since the exams must be taken in person, I consider this time to wait as an opportunity to excel, to study harder & longer, to enhance my knowledge of the Real Estate industry in general.

Looking around, it appears to me there is an avalanche about to happen. People have been months without work, thus becoming delinquent on their mortgages & rents. This domino effect will end up in the laps of the bankers & real estate investors. Now what?

Let's pretend I am an urban dweller with fantasies of a small, real dirt garden, & a fixer-upper with low overhead except for the building materials, & a personality from a previous era. What would I do? In fact I have stumbled upon a website with wonderful information if a person is resourceful & has an interest in history. My suggestion is to visit:
Circa Old Houses is a fabulous find to dig through from mansions to modest homes, all over the country. You can choose your state, your era, your budget, sign up for newsletters, & in general have a lot of fun creating a new future for yourself & your beloveds.

I want to complain about regulations for builders & contractors. It is a privilege to own property & have building skills & budgets, however, when such persons of good faith are confronted with government entities, city, county, state, federal, it is a nightmare of forms, many being redundant.
Yes, we have a serious homeless problem, but yes, the population of California (for example) has doubled in the last 30 years. The zoning laws & regulations were created in a different social topography. I cannot fathom how many percentage points of increase there has been in rules & regulations for the average builder/contractor in the last 30 years, in California! Next series of creative, perhaps silly ideas.

Let's convert old fashioned outdoor movie theaters into tiny house communities. They are set up with equal spaces, electricity is running to each space & most have a common building that could be used for group meals, laundry & washing rooms, cyber communication stations, etc.

Let's convert empty malls & office buildings into temporary housing for people to have immediate shelter & safety. Many have empty restaurant facilities for serving food & bathroom facilities for personal grooming. Not ideal, but better than having people living on the sidewalks.

I do not have a crystal ball. I do want to be optimistic about facing the future because I know we have so many talented, smart, young people in our midst who will help us understand. Between the preppers settling into Victorians with large pantries & boomers reducing their square footage because the family has basically moved away, jobs are lost, or beloveds are seriously ill, take heart that many others are also facing these new trials. New answers will be created for old problems.

Once I pass the California Real Estate exam, I will gladly entertain more serious property buying & selling, but in the meantime, I am watching with eyes wide open, fingers crossed, hoping for the best.
Blessings everyone & stay safe.

Saturday, September 21, 2019

Public Art Brings Urban Renaissance

Public Art Brings Urban Renaissance...

One of the many urban renewal projects is reclaiming billboards such as:

Murals bring color, life, creativity, & a sense of ownership to a sometimes vapid existence in a concrete mass of rectangular structures. Engaging with the huge amount of talent & vision to enhance our cities & towns is a trend that goes from Eureka, CA ( to Australia, as shown above in the above painting, to all over Europe. Art, no longer shuttered behind museum walls with formidable entrances & sometimes entrance fees, public art is to be enjoyed everywhere, all the time!

As a public art enthusiast, I wanted to make note that there are investment angels awaiting to alight once contacted by artists seeking funding to create projects ( This organization in NYC has a vast network of ideas to see artistic projects to be well-funded, understanding the long term value  art has on our communities.

Amidst the sad & bad news about urban decay, just like the tiny flowers growing out of the crack in the sidewalk, urban murals & the cities that embrace concepts of public art, are doing more that decorating utility boxes, although that can be perceived as a miracle in itself.

Public art engages the business community for funding, the city councils for allocating resources, communication between groups of people who may, or may not have reached out to one another under different circumstances. It increases the real estate value for those areas that are riddled & enhanced with public murals. Tourists along with locals, are eager to share stories, take photographs, laugh & enjoy positive changes in our society.

Saturday, September 14, 2019



King Henry VIII portrait by Hans Holbien 16th century
"Men are increasingly choosing to adorn their outfits with jewellery & bracelets are still dominating in the men's jewellery category, with stacking and layering being a continued trend in this sector of the market" - Duke Du (link below)

Of immediate interest as well is that the September Hong Kong Jewelry Fair will be held as planned.
This is despite continuing protest & confrontations within the city.

The political turmoil could give some business persons pause about attending the jewelry show, as well as other international events held in the city. With the advent of the Internet, all governments are more careful about how they treat the citizenry.

In the many years that I sold fine jewelry, I sold mostly watches to men & personal jewels to women, or to men to give to women. Handsome jewelry for men Louis Vuitton designed a new high end collection, which triggered my choice of King Henry VIII's portrait, designed by Francesca Amfitheatrof, inspired by medieval heroines. Let us not forget, how much King Henry VIII loved pearls, you can see his daughter wearing a famous pearled strewn gown which took multiple servants to help her get into & out of, but also to march about for festivities.

 Mikimoto is famous for its beauty pageant crowns as well as maintaining strong traditions of classic beauty. In 1893, Kokichi Mikimoto began his production of blister pearls. This method of seeding or nucleating, was the basis for this Japanese jewelry industry. (PEARLS OF CREATION by Marge Dawson)

Another designer, Tom Ford, is actively showing on the runways with a padlock theme, done in necklaces as well as earrings.
There are so many interesting & insightful news items in the jewelry industry covered by The Silverbene Blog, check it out.

Monday, February 25, 2019

Grateful Dead, former days of...

GRATEFUL DEAD Ex-Groupie Recalls lifestyle...

Geezer Planet

I found an article about Groupie Revisionism from THE AUSTIN CHRONICLE from the year 2000.

"In December 1992, culture critic Ann Powers wrote about Pamela Des barres and the groupie phenomenon in The New York Times. Girls like Pamela, Powers wrote, 'transformed hanging out into a form of creative expression', the groupie lifestyle was 'one of the rock era's liveliest, unofficial conceptual art projects."

"Groupies' presence 'was never considered legitimate,' but Powers nonetheless took their side, noting they not only 'embody the contradiction of rock's sexual allure,' but were representative of 'the most extreme example of women's attempt to fashion a space within rock's manly arena'.

I asked a friend of mine, Tammy Newcomb to comment, as we had had some conversations about her days as a GRATEFUL DEAD groupie, back in the day...

MOLLOY: What led you into the famous lifestyle of being a Grateful Dead groupie?

NEWCOMB: When I was twelve, my mother moved into an old Victorian in San Rafael that had once been the offices of the Grateful Dead in the late 1970's. The kitchen had been decorated beautifully with intricate and colorful inlaid tile design. I had started, even at this young age to enjoy the Grateful Dead vibe. Every morning I would get up, look around at that intricate kitchen and hope, one day, to be able to see the Dead, live. I was an innocent ivory white skinned girl with strawberry blonde hair who liked to dance barefoot...

MOLLOY: When did you join in a caravan?

NEWCOMB: I got my chance at 19 years old. I was invited to join a caravan when partying on a  yacht in Sausalito. I had come to Laguna Beach from San Rafael with a group of friends and fans who caravanned together. I joined the other in my van. There were maybe 25 of us pulling together to the show. We had vendor permits and spent most of the day selling pipes, costume jewelry and small trinkets with a Grateful Dead theme. Others in the caravan sold clothing, camping tools, blankets and musical instruments.

MOLLOY: Where were you headed?

NEWCOMB: We drove up in a line onto the old dried up lake bed. Laguna Seca (built in 1957) was about showing that even in the face of possible arrest, we were a people, a system, that we could come together and support each other without the need for police. All 25 of us pulling in together and setting up our tables next to each other. It was a hot day, people would walk around the raceway checking out the tables and stirring up the dust. I had never been to a Dead show before. I had never seen such a large group of people in person...There was an estimated 16-20 thousand people who joined together for the show.

MOLLOY: Was this around the time of the Irvine show?

NEWCOMB: The memory of the infamous show at Irvine, where 75 people had been arrested, was fresh in people's minds, having only happened months before. The hard core travelers would tell stories of following the Dead. There was constant music playing from people strumming guitars and beating drums. I would learn about playing drums and guitar. I would stand out in front of the table and dance around to the musicians playing music in an attempt to attract interest to the table. I knew the caravan people I had come with watched over each other and many an eye was watchful over me.

MOLLOY: You mention the "vibe", can you illuminate that for me?

NEWCOMB: I enjoyed the "vibe", hanging with people who followed the policy of self-reliance. I myself, owned my own van and didn't allow anyone to stay with me. I help sell other people's pipes but I myself didn't have a product to sell. I was there to enjoy the "vibe".

MOLLOY: It was a unique time  in our social fabric as I recall...

NEWCOMB: For me, it was a time of independence. A moment of freedom and self-
reliance. I felt safe around the caravan folks. I was not trusting of the other thousands of people around me. I remember Laguna Seca as a real marker for my freedom. I danced, learned to play the guitar, inspired others with my beauty and wrote poems about my experiences.

MOLLOY: I feel a rude awakening approaching soon, correct me if I am wrong.

NEWCOMB: A year after attending my first Grateful Dead show at Laguna Seca I followed the Dead to Berkeley on their "Downhill From Here Tour" at the Hearst Greek Theatre. The Dead had played the Greek from October 1, 1967 until August 19, 1989.
After a year of following the Dead across California I found myself in a well know flop house on San Pablo in Berkeley. The host was a Vietnam Vet named "Trans" who had been writing a book about the alternative culture of our times.

I walked to the Greek Theatre with Trans from the flop house. He introduced me to a large group of carnies, vendors, Dead Heads and others milling about selling trinkets and playing music as we waited for the show to start. Unlike Laguna Seca, which was a big, flat raceway, the Greek Theatre was an amphitheater and each ticket had an assigned seat. The music was amazing with echoing acoustics. Trans was showing me around and we met several people who had set up camp for the night at "People's Park" just down the road.

After the show, I realized the BART was no longer running and I would need to stay over the night. I had lost sight of Trans. I followed some new friends to People's Park for an overnight sleep. When we got there the police had hosed down everyone's tents and bedding. People began gathering, banging on drums, bells and voices rang out as the crowd began marching down Telegraph yelling and banging on things. Everyone was furious with the police for ruining their bedding. We marched to the foot of Telegraph, reached the University, then swung around and marched back down towards the park.

The police had set up on the campus, as we approached they used a megaphone to tell the crowd to breakup and go home. Many folks stood milling about as the police began preparing to chase people back down the street. It started with tear gas then the police with batons and shields started marching towards us. People began to rush down the street, pushing and shoving and trampling on each other.

We couldn't get back to the park, with everyone's things all wet and the presence of police there. It was late, no buses, BART, no real way to get home...I was left out in the cold for the night. Someone said there was a place to sleep out at the Universal Lutheran Chapel. I went up to the church following the group but once I got there I had no one around that I knew. 

There was this large oak tree that I felt driven to check out. I climbed up the tree and watched people filing by. At some point, a fellow came by and said, "Hey, are you OK? Come on down and get some rest..." I had felt so alone, it was a real welcome to hear a friendly voice even if it was from a total stranger. He gave me a blanket, and I slept under the church awning with just the stars and the chill to comfort me.

After this protest, the Grateful Dead never again played the Greek Theatre. The people were depicted  as rabble rousers in the press. Those of us who were there knew it had all been orchestrated by the police. In the end, that didn't matter, the Grateful Dead was banned from playing Berkeley, the place they had been playing since 1967.

The next day I went home across the bay. The Grateful Dead show would never be the same for me.
I was choking on tear gas, chased by police, and left alone to fend for myself in a group of total strangers. Lucky for me, one person cared enough to give me a blanket for the night. The independence I enjoyed at Laguna Seca became a real sense of worry and fear for my safety at the Greek. It was the first time I had been chased by the police, but it wouldn't be the last.

MOLLOY: Thank you for your candor and willingness to tell your story.

Tuesday, July 17, 2018

SALZMAN INTERNATIONAL artists' representative

SALZMAN INTERNATIONAL has been providing the most        professional & talented illustrators in the world 
for over 30 years...

Partial List of Clients Include:
Conde Nast, Adobe, American Airlines, Electronic Arts, Stanford University, Mother Jones, Anheuser Bush, Purina, Simon & Schuster, Bayer Corporation, Discover Magazine, Playboy, Publicis, Nickelodeon Channel, Hyatt Hotels

MOLLOY:  Did you ever consider a career as an artist yourself & speculate on your own self- promotion?

SALZMAN: No, never. From an early age I've frequently been accused of having a creative     approach to life, but I have neither the aptitude nor the inclination to endeavor a career as a creative myself. Electoral politics is my avocation and maybe the skill set that comes most natural to me, but 35 years since choosing this career, I still find my role as an  agent for some of the world's greatest commercial illustrators extremely rewarding.
MOLLOY: You've mentioned that you currently represent, almost exclusively, European artists.
I understand in the 80's, you were repping primarily NY do you explain this shift?

SALZMAN:  While our publishing and advertising clients were, and still are predominantly based in    New York City, the majority of the artists I started with in the early 1980's (living at that time in San Diego, very much a secondary market in our industry), as well as the  additional artists I signed during the heydays of the 1990's (after having relocated to San Francisco), were mostly based on the West Coast. While I have had a Manhattan phone number since 1984 I've never lived in New York. Near the end of that decade and into the early 2000's there was a precipitous drop in business for freelance illustration (as well as commercial photography), which I attribute primarily to the impact of readily available stock image libraries that technology made greatly more efficient and practical as searchable digital databases of images -- fed in large part by creators without the foresight to see they were selling the farm for a year's worth of seed money by providing an entire careers worth of images to these stock houses, the very worst of which include those selling royalty free images, which is to say, turning an artist's work into the equivalent of clip art.

There was a significant exodus and/or merging of Reps and Repping firms industry wide during these economically lean times in the communicating arts. Many who thrived (or at least survived) grew to be mega-Reps with up to several hundred  artists each. Others who choose to stay boutique operations such as myself went all but dormant over the following decade. It was in 2000 during these economically difficult times that I relocated to Humboldt County, Trinidad to be exact. The height of the dotcom boom on San Francisco housing prices came just as my landlord in The City decided to sell the house I'd been renting from him since 1990. Luckily the advents of technology also meant it no longer mattered where any of us were located. While the industry downturn of the late "90's" and into the early aughts was very real, I compounded a bad situation by declining to sign any new artists during this time. I based my reluctance to enter into new contractual relationships based on the accurate but misguided fact that since I was no longer able to keep the artists I was currently Repping, and had been for the past twenty years, at sustainable income levels, it would be irresponsible of me to commit to taking on additional artists. When you are an artist's exclusive Rep, and they are unable to make a living, it puts a tremendous amount of pressure on you and your conscience.

During this time, technology was making it less and less relevant where an artist lived in relation to where the clients were located and more and more of the artists who were soliciting me were from outside the USA. By 2009, I'd signed Mark Smith, who lived in Exeter, England. I decided at that time that I would let any foreign artist keep all the business from their home country as "House Accounts". My logic being that a successful artist should already be making a living from their domestic clientele relieving me of the self-imposed stress if I was unable to secure them additional work in The States, or other markets outside of where they lived. Mark Smith had an immediate and meteoric rise in the industry and from that point on I decided to focus primarily signing artists based outside the USA and have signed fifteen new artists from Italy, England, Spain, and Israel among other countries. During the last decade my business has rebounded to beyond where it was at it's height in the mid "90's". I still have about ten illustrators in my group that are a combination of specialist and legacy artists, many of whom I've Repped now for over thirty years. Ironically, the very newest artist I've signed: Jeff Hinchee, is my first New York based artist. So there are no hard and fast rules here. More than anything it is about the personal relationships between the artist and myself.

MOLLOY:  It sounds like you have been able to successfully use your own creativity to adapt to the changing markets.

SALZMAN:  One lesson I learned is that while the volume of original illustrations being assigned had dropped precipitously at the end of the "90's", I had not taken into account that for some artists, even though they may well have been at the top of their game as to the mastery of their style, that style may also have faded in popularity. Meanwhile these younger artists I was signing from around the world had more contemporary and popular styles. So while it is true that fewer clients were commissioning  freelance illustrators, even fewer were commissioning the ones I was Repping whose popularity may have peaked decades earlier.

The day to day is pleasant enough, but the real rewards come on those occasions when I  can get a chance to get an artist the  compensation they deserve on the highest profile assignments. Less appealing, and thankfully less often necessary I also find it rewarding when I'm required to exercise my responsibility of protecting the best interest of an artists from any  attempt of exploitation or otherwise being taken advantage of them contractually.

MOLLOY:  Thank you for your time & insights.