Miss Texas Magazine | March 2021

MISS TEXAS MARCH 2021

TEXAS CARES FOR CHILDREN

Colour of Couture Fashion show

SPECIAL FEATURE

MATCH MADE IN HEAVEN CAROL BURNETT BOB MACKIE

MISS TEXAS MAGAZINE

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Special Featured Article Photo Credits

Cover Photo Credit Texas Cares For Children

Chandler Foreman Mallory Fuller Angelica Jasmine Bates Madison Lamont Lindsey Sharpless (Cover Photo) Madison Franquiz

Lance Avery Morgan Courtesy of Archival Sources & Designer, Bob Mackie Crimson Point Photography Fashion Show Review

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The Texas Cares For Children program was created to address social inequality on a peer-to-peer level through leadership development, community partnerships and training. Texas Cares For Children, a 501(c)(3), strives to bring life skills, values education, and leadership into schools; demonstrating the importance of setting personal and educational goals; teaching students how to stand up to negative peer pressure and turn it into positive peer pressure and establishing lifelong healthy practices. The initial program was developed in 1993 through collaborative efforts with the National Committee for the Prevention of Child Abuse, and won the endorsement of former President George Bush and then Secretary of Education, Lamar Alexander.

The concept is to help each individual participant develop and improve his or her capabilities through instruction and training which in turn benefits the community as a whole. By sharing a platform about which an individual is passionate, each participant not only teaches, but learns. Participants learn about character building and life skills, making healthy choices and wellness practices part of their lifestyle, effectively dealing with bullying and peer pressure, overcoming adversity and challenges, understanding and respecting one another’s differences and combating drug and alcohol abuse.

For more information: www.texascaresforchildren.org Find us on Facebook at: @TexasCares4Children

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LANCE AVERY MORGAN

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Editor-In-Chief and Creative Director

Authoring the Special Featured Article in this issue, Lance Avery Morgan writes about one of television’s legendary comedy and design duos, Carol Burnett and Bob Mackie. Whether seeking the best restaurant in Rome overlooking the Colosseum, or taking a private tour of the Queen’s Gallery art collection at Buckingham Palace, our native Texan cultural enthusiast and arbiter Morgan is on the go. In fact, he founded and served as editor-in-chief of Brilliant, The Society Diaries, and now, Society Texas

magazine. He’s our very own James Bond on the international social scene and will gladly wield his saber to pop open a bottle of Champagne before advancing into a masked ball. His motto? Bring your passport and wear the tuxedo, since one never knows what can happen, baby. He’s a beloved guest at any dinner party, mainly because he is known for his disappearing tablecloth trick. Afterward, when in doubt, Morgan recommends everyone into the pool for a midnight game of what else? Marco Polo.

FEATURED ARTICLE

By Lance Avery Morgan

Photography courtesy of archival sources, Bob Mackie

MAKE ‘EM LAUGH

It was a match made in heaven. Television’s favorite variety comedienne and an upcoming costume designer. . . and they began a relationship that would define the extravagant style of the 1960s and 1970s. Funny was never more stylish than when San Antonio native Carol Burnett and Bob Mackie collaborated, entertained, and brought laughter into millions of hearts and homes with their combined creative talents.

In an exclusive, here’s a behind-the scenes look at the glitzy magic with an unprecedented look at what happened every week over two decades . . . in one of the most popular television series of all time.

LEGENDARY STATUS

It’s been said that comedy isn’t pretty. Silly, yes. But pretty?

Rarely. Although, sometimes, just sometimes, it can be really quite beautiful. Slim, trim, and sparkling at the age of 87, Burnett is still a hard-working actor. She’s recently appeared in her one-woman show, A Conversation with Carol Burnett, to share some of her favorite moments of her career and to answer questions from the audience. Recently, in a conversation with Burnett I got to bump up the lights with her to see what makes this star tick. And, she looked so beautifully funny while doing it.

Carol Burnett. Couirtesy of Larsen And Talbert

Lance Avery Morgan: At this point in your career, you’re considered a legend. Is that odd, or is it still about the work for you?

Carol Burnett: You know, I don’t think anybody thinks they are a legend. To me, the legends were people like Bing Crosby and James Stewart. They were bigger than life. It really is about the work. It’s not ‘Oh, here comes the legend’ for me. I just show up and hit my marks.

LAM: What drew you to comedy and variety?

Bob Mackie. Photography by Harry Langdon.

Courtesy of Bob Mackie

CB: When I was in my 20s, I did The Garry Moore Show. I had such a good time with it that I wanted to do it myself. These days, very few people remember his show, but he had one of the best in the world. It was a true musical-comedy-variety show. We had so many guest stars and did it like a live show, even though it was taped. After his show went off the air, I received offers to do my own show on CBS with titles like Here’s Agnes. That wasn’t what I wanted to do because I didn’t want to be the same person every week. Especially somebody named Agnes. With variety, I loved that I could be different characters and have my own guest stars.

Carol Burnett and Carol Channing in Bob Mackie costumes, 1970s.

Photo courtesy of archival

CB: So, when I left New York where we did Garry’s show, to come to Los Angeles, a lot of the writers, producers, and performers came out with me. It was a perfect segue because everybody knew what they were doing.

LAM: You’ve teamed with some of the greats–Julie Andrews, Lucille Ball, and so many more. Plus, all your series’ co-stars and guest stars. How important is the collaborative process for you?

CB: I loved musicals growing up. So for me, all of what we did on the show was the best of all possible worlds. And it worked. It was a phenomenal cast with fantastic synergy.

DREAMS COME TRUE

Growing up in the Depression in the 1930s wasn’t easy for a child.

Born into a Texas family of modest circumstances, Burnett depended on her grandmother more than her parents, whom, she learned early on, could not be relied upon. It created an unstoppable drive for her to be an entertainer and make people laugh. Proving once again that the best comedy strikes from the darkest origins. Seeing the light of music, dance and comedy were what Burnett did to survive. She and her grandmother would move to Los Angeles, where Burnett attended school, and in 1951 she became yet another famous alumna of Hollywood High School. With a scholarship to UCLA, her destiny was chartered. She’d study drama but had the intent on becoming a playwright, hence her close relationships with the writers who would write her career’s myriad of funny lady lines.

Carol Burnett in a Bob Mackie costume, 1960s.

Photo courtesy of archival

In the mid-1950s, Burnett landed a spot on the The WinchellMahoney Show and on a sitcom called Stanley, co-starring Buddy Hackett until 1957. She then created a persona on the nightclub and cabaret circuits, where it was a crash course in connecting with her audience. She came to national acclaim on the variety shows like Ed Sullivan and Jack Parr’s The Tonight Show, with a parody tune called I Made a Fool of Myself Over John Foster Dulles. What lent the song to be so funny as that Dulles was known to be a very dull and dry secretary of state, about as unsexy as it gets.

After that came success on Broadway in Once Upon a Mattress, then Moore’s show (for which she won the first of her five Emmy awards in 1962) and specials starring with talents like Julie Andrews. “Carol probably brings out the worst in me. We bonded the minute we first met and usually do wicked, silly, naughty things whenever we get together,” Andrews said about their partnership. From there, it was up, up, up to the pinnacle of success, starring in her own CBS weekly show in the fall of 1967. Pop culture would never be the same.

LAM: Carol, hundred of millions of people on this planet have enjoyed your show. Even while watching it as a kid, it looked to me like so much work went into it. Was it an 80hour work week to make it all happen?

CB: We really were so organized. So organized that we’d go in on Mon at 10 AM and read through the script, put a sketch on feet, then go home. The same for Tuesday…we’d go in, have lunch, go into a dance rehearsal and be out by 3 PM. On Wednesday, I’d go in at noon, review costumes, do a run-through for the crew, and be out by 4:30 PM. We’d rehearse Thursdays from 2-6 PM, then after dinner be back from 7-9 PM, then go home. Friday was the show’s taping, and by then, we’d nail it, unless it took longer because of the Mr. Tudball and Mrs. Wiggins skit, which Tim would adlib anyway. So, even though we did more episodes a season than is now done, we’d have several weeks off, summers, and Christmas breaks. Can you believe we did it all in about 30 hours a week? Now it’s so different in television. They’re still shooting in the studio at 1 AM. The poor guests. And the poor actors. They’re like warhorses–if audiences are even laughing by the end of the taping.

LAM: In the 1970s, your show really reached a high level of popularity, didn’t it? You, Vicki Lawrence, Tim Conway, Lyle Waggoner, and Harvey Korman were superstars. What drives you to perform and make the world laugh?

CB: It makes you feel good. The biggest compliment I have is when someone tells me, as you did that my show was the time their whole family would watch television together. To be a family. We were lucky we were part of that Saturday night lineup…with All In The Family, Bob Newhart, and Mary Tyler Moore. It was magic.

LAM: There was a great deal of effort that went into what your show looked like...that’s where designer Bob Mackie comes in. You sort of discovered him, didn’t you?

CB: When we decided we were going to do the series, my husband Joe and I had seen his work in Las Vegas for Mitzi Gaynor and just loved it. Then, we saw the television special Alice Through the Looking Glass and thought the costumes are so inventive, fun, and colorful.

Julie Andrews and Carol Burnet TC special promitional photo.

Photo courtesy of archival

And, again, it was Bob Mackie. We got in touch and told him we wanted to meet at our home to discuss our show.

So, the doorbell rings, and I open the door to what looked to be a twelve year old. At the time, he was 24.

We hired him on the spot.

LAM: Is there a great deal of trust level a star needs to have a designer?

CB: For the first three to four weeks when we started doing the show, Bob would show me some sketches to get approval. Finally, after that short amount of time, I said, ‘just tell me when you want me to come to the fitting’ because there was no need for the design’s approval by me. I loved what he was doing. It’s about trust, and he had that with me. I remember one time when a sketch called for me to hang from a chandelier that I had to climb. So, naturally, I thought I should wear slacks. Bob said it would be funnier to be in a tight skirt and high heels. I had ‘funny legs’–so being in a skirt and turning and dangling made it much funnier. Bob had that intuition, too.

LAM: He designed your opening gowns as well as all your characters each week. Many of them were real showstoppers since Bob Mackie’s signature was glitz and glam–was that part of what you wanted to project to your audience?

CB: I loved getting all dressed up and getting the laughs. I never knew what he was going to put me in each week. I loved what he designed for the opening outfits I would wear to talk to the audience. He did every single costume–not just mine. That was about 50 costumes a week–with Harvey, Vicki, Tim, the dancers. The more you do, the more you can do.

LAM: Did the costumes become a part of how you approached your characters? What was your favorite costume or character?

MAN OF DESIGN

“A woman who wears my clothes is not afraid to be noticed,” says the Sultan of Sequins Bob Mackie. The prolific designer should know. He’s won nine Emmy Awards (and has been nominated for 31) and has also been nominated for three Academy Awards. In fact, he won the Tony Award for his most recent work, Broadway’s The Cher Show. But it’s not just about the accolades to Mackie. It’s about the creative process. Mackie remains a much sought-after designer for made to order clientele beyond helming successful products with his QVC network appearances. At 80 years young, he remains very much in the design game with his inimitable dynamic touch and is still adored by worldwide fans.

CB: They did. My favorite had to be the Gone With The Wind outfit. You know, the writers wrote that I would pull down draperies, and then they would just be hanging on me in the next scene, which would have been funny. So we went into our usual Wednesday costume fitting that week and Bob said, ‘I have an idea.’ That’s how Scarlett’s curtain rod dress was born. When we shot it, it was so hard for me to keep from laughing, so I had to bite the inside of my mouth. Plus, the taping was the first time the audience and crew had seen it, so it was a surprise for everyone.

LAM: And what about Mrs. Wiggins, one of my favorites?

Mackie designed the perfect outfit to capture that character, didn’t he?

CB: When we first thought about doing Mrs. Wiggins’ character, she was a senile, elderly lady. So we thought, why don’t we make her a bimbo whom the I.Q. fairy had never visited? Bob had so many great ideas for her, like the pushup bra and the fake nails. I went in for the fitting, and he fitted me with a black, slim skirt that was very tight at the knees. But, it had a baggy behind. And I have a flat behind. So I told him, ‘I think we’re going to have to take this in.’ Bob said, ‘Stick your butt into where it's baggy.’

And that’s how the crazy walk started… with the high heels, of course. It was another classic. He designed all the show’s wigs, too, you know.

LAM: You did so many characters, and there was Bob Mackie, week after week, creating what would be classic costumes to match your priceless characters. . .

CB: He was. I also recall I did a character that was a Cockney tart during the time of Jack the Ripper in the late 1800s. I just couldn’t get into her character for some reason, and Bob said, ‘since people then had such bad teeth, why don’t you black out a tooth, so it looks chipped?’ And what happens when you have a chipped tooth? You lisp. So I lisped, and no matter what I said, the character became very funny. Bob thinks like a comedic writer and director.

Carol Burnett and Cher, 1970s. Photo courtesy of archival.

Cameron Silver, fashion director at Halston Style, and author of Decades, remarks about Mackie’s talents, “Just look at the last Dior Haute Couture shows Galliano has done and you see Mackie’s influence. When Cher was overheard saying it was her favorite show and she would wear all the clothing, it’s a great validation that costume and fashion have fused at the highest echelon of style.”

With Cher, it’s about designing with less fabric and more razzle-dazzle. When they met, Cher’s look was more fringe vests and bellbottoms until collaborating with Mackie.

Cher herself admits she’d be a peacock without feathers without Mackie. “I think I’m the oldest living designer in Hollywood,” says Mackie.

Carol Burnett sketch by Bob Mackie, 2000s. Photo courtesy of archival

Carol Burnett as Nora Desmond, 1970s. Photo courtesy of archival

Carol Burnett costume by Bob Mackie, 1970s. Courtesy of Bob Mackie

Mackie has been able to mix his profound talent as a costume designer with his couturier ability to create some of the most iconic fashion images of the 20th century.” Mackie wowed audiences every week on Burnett’s show with an outrageous array of imaginative colors, luxury fabrics, beading, feathers, fur, and just about any other sort of adornment that could create an instant impression. He created a body of instant images that’s lasted to this day, decades later. And, he has plenty of fans in the Lone Star State.

Lance Avery Morgan: Bob, Texans really love your style.

BOB MACKIE: I’ve been to Texas many times. I loved doing trunk shows at Neiman’s when I had a clothing line there. Austin’s great, too. It’s very hip. I enjoy meeting Texas’ very modern women. Whenever I am in New York and walking down Madison or Park, and I see a woman who is beautifully dressed and wearing color, she is almost always from Texas.

LAM: Speaking of hip, you’ve designed creations in your career for just about every star, including Cher (while simultaneously doing Burnett’s show), Barbra Streisand, Lucille Ball, Elton John, Sharon Stone, and so many more. How is costuming different these days?

BM: It’s all about shopping now. The way the designers–or personal stylists, really, bring in a rack so the star and director can choose what will be worn. It’s just different. I did Carol’s show for 11 years, and I never once had her wear a pair of jeans.

LAM: What was the most challenging aspect at the time of doing The Carol Burnett Show?

BM: I did everyone’s clothes, including the guest stars’, which was like running a marathon each week. It was exciting to find out what the script would be like on a Friday for the next week’s show. There never seemed to be enough time. I made it work. You could say it was an adrenalin rush.

LAM: I’ll bet. That reminds me of when Garry Marshall told me he had to wear skates on the Paramount lot to keep up with going between the hit shows he had on simultaneously like Happy Days, Laverne & Shirley and Joanie Loves Chachi. Carol told me you designed almost 50 costumes a week for the show. Did you have a large team to implement the costumes at the time?

BM: I had a male assistant who would help with the men’s clothes. If there were uniforms, we would just rent those. I had a female assistant to help with the women’s costumes. Although I designed so much, for some characters, like a simple housewife part, we’d just buy a dress.

LAM: What was your favorite costume for a Carol character?

BM: We did over 200 shows, and the one that got the most attention was the Gone With The Wind outfit. It was recently on display at a television costume exhibit at the FITM Design School. But mostly, it was just another week, another show.

Lucille Ball and Carol Burnett in Bob Mackie costumes, 1960s. Photo courtesy of archival

LAM: It’s become a true classic. Our mutual friend, Jan Strimple in Dallas, told me that when she attended one of your birthday parties that Diahann Carroll arrived in a Scarlett O’Hara costume, complete with a curtain rod. Any others?

What about the classic movie homage skits?

BM: Those were really fun. Remember, that was back in the day before VHS and DVD rentals...and way before streaming.

LAM: So, did you depend on The Late, Late Show as a resource, or how did you design, like say, Mildred Pierced, a take-off on the Joan Crawford movie that was a very successful sketch or, say, Sunset Boulevard?

BM: I have a collection of fashion books that I could reference, plus I’d seen all those old movies and loved them. Sometimes, though, it was tough. For instance, in the books, they might not have a photo of the bottom of the skirt… the hemline. So, I just made do. Looking back and having access to those movies now, I was pretty close. I just had a feeling about the film and its period.

Carol Burnett and Vicki Lawrence, The Carol Burnett Show, 1967. Photo courtesy of archival

LAM: You also designed Carol’s opening segment where she would answer questions from the audience. The gowns were gorgeous, many with your signatures beads and sparkles. What was your inspiration for those?

BM: With her opening gowns, I wanted Carol to wake up the audience and to have her not only look attractive but also for her to look like their friend. I knew that later she’d be in one crazy costume after another, so I wanted her to be seen as more real in the opening outfits. When I see a group of those show openers now, I think, ‘wow, she could wear those today.’

LAM: You’ve shared with me before that you often switched out Carol and Cher’s costumes when you were in a pinch.

BM: That’s right, if I designed a dress with a plunging neckline for Cher, I’d turn it around and use the same dress for Carol, making it backless. In fact, Carol loved her back and didn’t mind showing it off.

LAM: What was your favorite aspect of working with Carol over the years?

Dianne Carroll, Carol Channing, Bob Mackie and Carol Burnett, 1980s.

Photo courtesy of archival

BM: It was a gift because I loved the movie musicals growing up. It was the first weekly variety show with a lady star. Also, to do comedy, dance, singing and the musical numbers. It was all a dream for me.

BACK TO YOU CAROL

Star power. That’s what Carol Burnett really has. And, star quality. She’s respectful of her background and knows how lucky she is to have achieved what she has. “I loved when we did all the film take-offs on the show. My grandmother and I would go to ‘the picture show’ in Texas, and we’d see those double features, and I grew up watching and loving movies,” Burnett confides.

LAM: Who came up with all the ideas to do the movie parodies? They were really genius.

CB: Because I loved all those movies, too, I’d go to the writers and say, ‘let’s do Mildred Pierce. Which led to Gilda, The Postman Always Rings Twice, Sunset Boulevard, and all the others. And you know what? After we did them, the stars of those movies would come on as guests. We had on Rita Hayworth, Lana Turner, and Gloria Swanson. All of them. I’ll never forget the time Steve Lawrence and I did a take-off of From Here to Eternity.

LAM: Right. The one where the beach scene has all the water that soaks you both. It’s hilarious. You had all those amazing guest stars. That in mind, who has inspired you most in your life and career?

CB: Definitely Garry Moore because he knew how to run a show and never had any ego about him at all. He knew what was best for the show. He’d say, ‘Give that funny line to Durwood (Kirby), or let Carol have that.’ He was very supportive. I feel that way, too. I’ve loved playing straight man to Tim or Harvey. We all gave. We really loved and looked out for each other.

LAM: That really came across with your character Eunice in the Mama’s family ensemble sketch, too.

CB: I always loved playing Eunice. There was such a pitifulness about her. It could be very serious stuff if we didn’t go overboard with accents. One time we experimented that way and decided to do it seriously, and it indeed was very dark. The writers never wrote a joke for the sketch because they were really all character-driven one-acts. So it got to be funny with the exaggerated way we performed it.

LAM: Do you think a phenomenon like your show could ever happen again?

CB: I feel blessed, but I don’t think it could happen again–it would be so prohibitive, money-wise. The music was so elaborate. Now they charge a fortune to license five seconds of a song.

LAM: Do you think there’s the creativity out there that could handle it now?

CB: I think the talent is definitely out there. The people are out there, but there’s just no vehicle for them. People like Martin Short, Billy Crystal, and Kristin Chenowith…they are absolutely brilliant. But they have to be on sitcoms–or Broadway. If they were ever allowed to do it, they could do a great variety show.

LAM: Speaking of talent, you appeared in the 2000s hit, Desperate Housewives, with our fellow Texan Eva Longoria, Ricardo Chavez, and Mechad Brooks. Was that fun?

CB: It was so much fun. I only got to work with Marcia Cross because of the scenes I was in, but I loved it. I talked to some of the crew, and they said everyone was so supportive of each other. It was a well-run ship.

LAM: Carol, you offer your reminiscences in the conversational show with which you tour. What can a fan expect to see with that?

CB: I always look forward to it. I’ve done this many times before and realize that the show is only as good as the audience. We show clips during the evening, and I then talk about the story behind them. Then, we’ll talk about the great musical performances we did. It’s a fun evening.

LAM: You’ve already written your autobiographies, so what else can we expect from you as you continue to entertain?

We all love that your show is available to view again on streaming platforms and networks like METV. CB: I’m writing another book. It’s anecdotal about the people I’ve known. And fun fan stories. Plus, I’ll write Dianne Carroll, Carol Channing, Bob about when I met Cary Grant, Jimmy Stewart...and how it all came about. It will be lighthearted. Like life should be.

Mackie and Carol Burnett, 1980s.

Photo courtesy of archival

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Misslegacy Texas society The Miss Texas Legacy Society celebrates those who have shaped the Miss Texas Organization, preserves our history and expands networking opportunities.

It was established to honor past titleholders (local and state, miss and teen) and the supporters who have mentored and encouraged them along the way.

The three branches of the Legacy Society include: Former Local Titleholders Past State Winners Volunteers and Supporters (including family, friends, directors, board members, donors, sponsors, judges and fans from all years).

Become a member of the Legacy Society by visiting: www.misstexas.org Update your profile and gain access to Legacy Society membership opportunities prior to, and during, competition week.

Pictured: Miss Texas 1970, Bellinda Myrick, at an appearance for the Houston Astros. Bellinda met Willie Mays during this event.

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