Tomata on-line, (c) 2000 Chuck Fulton

CONTACT: Robert Wray 323 934-2492 / daytonwray@aol.com
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Tomata DuPlenty, 52, Punker and Painter
Whose Career Spanned Several Eras 

     Tomata du Plenty, 52, a prolific stage performer and artist whose 33-year career stretched from the Haight-Asbury to the French Quarter, died of cancer August 21 in San Francisco. 

     Best known as the lead singer of the late '70s Los Angeles punk band The Screamers, Tomata seemed perpetually ahead of his times. He was in the forefront of the late 60s glitter scene as a member of San Francisco's gender-bending drag troupe, The Cockettes; he then formed Ze Whiz Kidz, his
own counter-culture theater group in Seattle. In the late 80s he abandoned performing to become a painter full time, turning out hundreds of vivid portraits that he exhibited in storefront galleries across the country.

     Tomata du Plenty (his name was a play on "do plenty") was born David Xavier Harrigan in Queens, New York, of Irish immigrant parents. His family migrated to Montebello, Calif., when he was 9, and Tomata ran away to Hollywood at the age of 16.

     He moved to San Francisco in 1968 where he joined the Cockettes, the hippie-glitter theater troupe that staged legendary midnight musicals at the Palace Theater in North Beach. The company's freewheeling shows and rhinestone-studded costumes anticipated and inspired the glam rock scene of
David Bowie and "The Rocky Horror Picture Show." Their shows were attended by Diana Vreeland, Truman Capote, and Gore Vidal; their then-scandalous film, "Tricia's Wedding," recast the marriage ceremony of first daughter Tricia Nixon as a psychedelic drag show. John Waters described the Cockettes as " the first hip drag queens...on stage and off.."

     Tomata lead Ze Whiz Kids, a Seattle troupe that blended counterculture comedy with drag theater from 1969-1972. The group staged nearly a hundred musical revues with a cast that featured performers like Satin Sheets, Co Co Ritz, Daily Flo, Benny Whiplash, Michael Hautepants (costume designer Michael Murphy), Leah Vigeah and real females Louise Lovely (Di Linge) and Cha Cha
Samoa (Cha Davis, now a painter).

     From 1972-1974 Tomata joined friends Gorilla Rose and Fayette Hauser in New York City to bring guerrilla comedy to CBGB's and other East Village clubs, working with then-unknown bands like the Stilettos (later Blondie) and the Ramones. "I used to do Pat Suzuki between their sets," he said.

     In 1972 and 1973 Tomata and company staged two Palm Casino Revues at the Bowery Lane Theater. In between shows, he found time to write an advice column for an adult newspaper and operate a thrift store.

The Screamers

     Returning to Seattle in 1975, Tomata formed a band called The Tupperwares with Melba Toast (later Tommy Gear). The band re-formed in Los Angeles in 1976, picking up drummer K.K. Barrett and keyboardist David Brown, and a new name, The Screamers. Brown was later replaced by Paul Roessler.

     As much theater as rock band, The Screamers eschewed guitars and featured two keyboards, one drummer and assaultive lyrics mostly written and sung by Tomata. Their sound anticipated the techno rock of the early 80s. Their look--foot-high hair and ripped clothes--was achieved with the help of hair
sprays, gels and a full-time stylist (Chloe Pappas).

     From 1977-81 The Screamers were L.A.'s leading punk band, and one of the city's leading club draws. They played consecutive sold-out performances at L.A.'s top music venues, including the Whisky, the Starwood and the Roxy, but despite several offers never signed a record deal.

     The band's last performance, without keyboardist Gear, was at the Whisky-A-Go Go in 1981. Two years before MTV, it incorporated music video with live performances by Tomata, K.K., Paul Ambrose, Shari Penquin and the Fabulous Sheela.

     Much of the film was later used in a full-length feature, "Population: One," produced and directed by Dutch filmmaker Rene Daalder and featuring a cast of L.A. musicians and scene-makers, including a preschool Beck Hansen.   "Population: One" was screened in 1986 at the Cannes and Seattle film
festivals. In 1987 it was screened at the Chicago Film Festival and was later released in Europe and Japan.

On stage in L.A.

     Tomata was a prolific stage producer, playwright and lyricist who wrote scores of songs, plays, sketches, and musicales. His stage presence was magnetic, his voice loudly unconventional. He was fond of quoting an old review by Rex Reed, "No talent is not enough," but hundreds of avid fans
disagreed.

     In 1985 he wrote and performed "The Weird Live Show," a series of unconventional shows at the Anti-Club and LACE Gallery in Los Angeles.   Tomata assembled "The du Plenty Players" and staged "A Shakespeare Travesty" at the Ocasco Gallery in 1985, blending the camp comedy and the work of the Great Bard. He joined Fayette Hauser and the artist Gronk in writing and  performing in "The Royal Family" at the Lhasa Club in Los Angeles in 1985-86. In 1986 he appeared on stage at the L.A.'s Museum of Contemporary Art in conjunction with Gronk's "Morning Becomes Electricity" show.

     In the late 1980s he directed a series of short films with Los Angeles filmmaker Kevin Kierer, including "Mr. Baby," featuring Styles Caldwell, and "Pick Up on Olvera Street," featuring Juan Garza. He coaxed 50s TV horror-movie hostess Vampira out of retirement, and featured her in several
performances and films.

Tomata the artist

     Tomata began his art career in 1983 with a one-man exhibit of watercolor portraits at the Zero One Gallery in Hollywood. Three years later his first paintings on canvas were exhibited at L.A.'s Cheap Racist Gallery at a show called "Whores, Sluts and Tramps" (at the opening party, guests appeared
dressed as their favorite low-life heroes).

     In 1987, he won the L.A. Weekly's Best Set Design Award for his work on John Fleck's one-man stage show, "I Got the He-Be She-Be's." He directed the Compulsive Players in a performance at L.A.'s MOCA that same year and exhibited at the Bye Bye Gallery with artist Diane Gamboa.

     An exhibit called "Knock Out!," featuring portraits of boxers, appeared in 1988 at the Zero One Gallery in Los Angeles. That same year he was the regular art critic on the cable television series, "What's Bubbling Underground," and he guest lectured at the Fashion Institute of Los Angeles.

     In one of his last stage performances he appeared in "The Loves of Edgar Allen Poe" with Gronk, Fayette Hauser, Janis Segal and Styles Caldwell at L.A.'s Casa Confetti.

South Beach to New Orleans

     Tomata continued his painting career after moving to Miami's South Beach in 1989. His exhibits--in bars, restaurants and small galleries around the country--were often arranged around a single theme, saluting his favorite poets, TV stars, country Western singers and boxers.

     Tomata painted people he admired, from historical figures to friends from the punk world, in a style that was emotional, provocative and accessible. He was proud of his status as an outsider artist--he once observed he would rather sell 100 pictures for $25 than one picture for $2,500.

     In the mid-1990s he moved to his studio to New Orleans. Several times a year he would hit the road for exhibits in California, New York and Florida.   In January 1999 he appeared in a CNN interview, along with series of paintings featuring Lucille Ball, Elvis Presley and other pop-culture icons.

     Last July, he returned to California for an exhibit at Beyond Baroque in Venice. His opening reception included readings and performances by an eclectic assortment of longtime friends, including the Oh! Sisters, the Groovy Rednecks, Pleasant Gehman and Vampira.

     Tomata's last major show, "Black Leather Kerouac," featured watercolors of the beat generation and was held at Cafe Vesuvio in San Francisco's North Beach. Fellow punk veterans Jello Biafra and Penelope Houston performed at his opening.

     At the time of his death Tomata was researching opera singers for a planned exhibit at the Glendale Art Library.


ROBERT WRAY

THE FOLLOWING APPEARED IN THE LOS ANGELES TIMES
THURSDAY, AUGUST 24, 2000


Tomata du Plenty, Lead Singer of the Screamers

Tomata du Plenty, 52, whose contorted face and high-spiked hair were an emblem of Los Angeles punk rock in the late 1970s. Du Plenty was the lead singer of the Screamers, widely regarded as the most popular Los Angeles club band of the time, even though it never released a record. The band was ahead
of its time in its synthesizer-based sound and its early use of video and film. Artist Gary Panter's caricature of Du Plenty became one of the most recognizable symbols of the era. Du Plenty, whose real name was David Xavier Harrigan, was born in Coney Island, N.Y., and moved as a child to Montebello.  After working in theater troupes in San Francisco and Seattle, he returned to Los Angeles in 1977 with Tommy Gear, his partner in a vocal group called the Tupperwares, and formed the Screamers with Gear, David Brown and KK Barrett.    The band's aggressive, theatrical productions packed such clubs as the Whisky
and the Roxy. After the band broke up in 1981, Du Plenty--whose stage name was a play on "do plenty"--became a self-taught artist, often painting series of such heroes as Elvis Presley and Lucille Ball. Living in New Orleans, he would pack suitcases with his works and travel to various cities, exhibiting  in galleries, bars, restaurants and even Laundromats. Last March a San Francisco cafe presented his "Black Leather Kerouac" paintings, throwing a reception that featured his punk peers Penelope Houston and Jello Biafra. On Monday in San Francisco of cancer. 


--The Los Angeles Times, August 21, 2000
(c) Copyright 2000 by the Los Angeles Times 

Goodbye, Tomata du Plenty

By Brendan Mullen

    David Xavier Harrigan, a.k.a. Tomata du Plenty, lead vocalist for the Screamers (‘77–’81), died of cancer in San Francisco on Monday. He was 52.  Born near Coney Island and raised in Montebello, Tomata was the son of Irish immigrants. He is survived by two sisters.

One of L.A.’s all-time biggest club bands, the Screamers were also its most mysterious. They are renowned as the original punk underground’s most popular band, who vanished into thin air without ever releasing a single record, who never officially toured, and who were so far ahead of their time in doing away with electric guitars in aggressive rock that they were called “techno-punk” by local scene scribe Kristine McKenna as early as February ‘78. Style and theater were also so much a part of the Screamers that nobody ever called them out for being a punk band with a full-time stylist. Later on, under the direction of Austrian filmmaker Rene Daalder, the band made a series of video clips and promotional films nearly two years before MTV went on the air. Gary Panter’s screaming, hair-raising skull caricature of Tomata has become one of the most recognizable emblems of the L.A. underground rock-band rebirth of the late ‘70s.

No one in the music industry understood the Screamers or their lo-fi (one ARP Odyssey synth, one Fender Rhodes with fuzzbox, minimal drumkit plus Tomata) psycho-Kraftwerk-meets–The Night Porter performance art, yet the band regularly sold out multiple consecutive nights at the Masque, the Whisky and the Roxy with their meticulously polished productions. After the final breakup of the Screamers in ‘81, Tomata embarked on a new career as a painter, and gradually evolved into a revered folk artist who worked the storefront-gallery circuit in Seattle, L.A., Miami, New Orleans and San Francisco. (He always said he’d sooner sell 100 of his trademark instant paintings depicting his favorite artists and other plain folks at $25 each rather than one at $25,000.)

Before moving to L.A., Tomata had joined the Cockettes theater troupe in San Francisco in ’68 and afterward was a beneficiary of Seattle’s “1-percent-for-the-arts” policy at a time when there were more than a dozen funded live theaters in that city. Tomata became a big hit on the thriving Seattle off-theater circuit of the early ‘70s as a member of Ze Whiz Kidz, a lip-synch troupe he co-founded with the late Gorilla Rose (R.I.P. Michael Farris) in ‘69, and which godfathered major rebirths of local scenes in modern dance, performance art, punk and the gay underground in Seattle. After bailing on Ze Kidz circa ‘72–’73, Tomata performed comedy with Fayette Hauser and Gorilla at CBGB in New York, where the opening acts were weird new bands like the Ramones and the Stilettos (with a pre-Blondie Debbie Harry).

Back in Seattle circa ’75–’76, Tomata formed the Tupperwares, an all-drag vocal trio with Melba Toast, who later reinvented himself as Tommy Gear (the enigmatic musician-writer who wrote most of the Screamers’ classic songs and then seemed to disappear), and Rio de Janeiro (David Gulbransen). Tomata and Tommy moved to L.A. in early ’77, changing their name to the Screamers after meeting keyboardist David Brown and transplanted Oklahoman multimedia artist-musician KK Barrett.

“With style, grace and humor,” Tomata once said, “everybody must be made to feel important sometime .”

--The L.A. Weekly, August 24, 2000
(c) Copyright 2000 by the L.A. Weekly

Tomata's "GODSEND"

I know that many of you not knowing about Tomata's illness have concerns about the last weeks of his life. I just want to assure you that there's an unsung hero that came back into Tomata's life just at the right time. His name is Satz (Satin Sheets from Ze Whiz Kidz and SF's The Lewd). When Tomata came to SF for the Kerouac show it was obvious that he needed medical attention. Although it had been 25 years since Satz and Tomata had spent much time together, Satz took Tomata in and gave him his own room in the apartment building Satz manages. Because he's an apartment building manager, Satz is able to make his own schedule plus he works right at home. So he was able to be available to take Tomata to all of his doctors' appointments plus got him set up financially so Tomata was able to pay for the expenses of his chemo and radiation, etc. He told Tomata he was welcome to stay as long as he wanted at no cost to Tomata. He even set up a studio for Tomata in the basement of the building. There was nothing he wasn't willing to do for Tomata. And Tomata would so often refer to Satz as his angel and his Godsend. Tomata's only concern was to get well. All of us, including Tomata, believed he was going to be getting better. He had finished his chemo and radiation a week earlier and was looking forward to the next week when his doctor said he'd be feeling much better. But all through his treatments, Tomata retained his optimistic humorous attitude. He would compare himself to the other chemo patients and remark how lucky he was to be having such few side effects. It was Satz' great misfortune of finding Tomata's body the morning he died. But I'm so thankful to Satz for providing Tomata with the security and comfort he deserved as his life drew to a close. I hope this helps reassure all of you that Tomata was surrounded by comfort, security and love when he died.


Chuck Fulton
Sept. 4, 2000

A Painting & Poem

My best friend Tomata
by Cherie the Penguin

It was St.Patrick's Day and the jukebox was playing"H-A-doubleR-I_G_A-N spells Harrigan"...my buddy and I danced a tipsy Irish Jig as he made me vow never to reveal his given name to his admiring public.  Of course I never did.  Tomata had every ounce of my respect and I would never dream of going against his wishes. When I fled from my small hometown in upstate N.Y. to "discover" myself in the big city, He was the very first friend I made in the City of Angels.  How ironic that he would also be the longest lasting friend too.  Tomata had a gift of letting you think he cared about you.  He was never too busy or "big" to listen to your problems and offer solace if you needed it.  His priceless wit and humor would somehow make everything O.K.   He was talented in so many ways
...the gifts he gave to the music and art world were only surpassed by his gift of caring.   Unlike so many involved in that culture,Tomata was real.  I feel lucky to have known him and am a better human being because he was a part of my life.  I will miss him dearly, and know that he has already received his angel wings and is looking down on us all saying "Hi ya!" from Heaven. 

Here's looking up at you kid!
your friend,

Cherie the Penguin

MY BEST PAL

It was on a friday - February 20, 1971. I was 21 and living in Portland. That evening I took the bus up to Seattle to attend a friend's 21st birthday party. Sometime during the evening I started hearing this hearty laugh and the words "Hiya! Howya doin'?" I finally traced it to this wonderful looking young man. The first thing I noticed was his shag haircut. I'd never seen one before and I thought it was very cool.

I asked my friend to introduce us. So he went up with me and said, "David Harrigan, this is Chuckie Fulton. Chuckie, David Harrigan." Tomata put out his hand towards me and said, "Hiya, Duckie! Howya doin'" (Obviously the music and conversations were so loud he misunderstood my name. I believe he was actually disappointed when he realized Duckie wasn't my real name.) I didn't realize it at the time but with that silly introduction, my life as I'd known it would cease to exist.

Within a year I was living in Seattle with Tomata, Leah, Satin Sheets and Gorilla Rose. Another year later we were living in New York City - the place I'd wanted to live in all my life.

Our 2 years in NYC were 2 of the happiest years of my life. It was 2 years of fun. We had our own little family that consisted of Tomata, Fayette Hauser, Gorilla, Scree Ming Orchids and myself. Tomata, Gorilla and I not only lived together in Brooklyn but also worked together at a gallery in the Village. Tomata and I would often laugh and reminisce over those times. Now Fayette and I are the only ones left to share memories of those wonderful years. (Besides Tomata, Scree Ming and Gorilla are also no longer with us.)

I returned to Portland and Tomata went to Seattle to form the Tupperwares. Eventually he moved with the Tupperwares to LA where they became the Screamers. I realized after 2 years back in Portland that I needed Tomata in my daily life and soon joined him in LA. It was great seeing Tomata and the Screamers enjoy their overwhelming popularity. They deserved it.

I returned to the Northwest in 1985 and Tomata eventually moved to Miami and then New Orleans. We saw each other a couple of times when Tomata came to Seattle. We went up to Vancouver for Expo '86. But our relationship was mostly through the phone and mail.

In 1997 I took the train out to New Orleans to visit Tomata and realized how much I had missed him. I moved to Santa Cruz that same year and got down to see Tomata when he did his art shows in LA. Tomata would take the train up to see me once his shows had ended.

Tomata and I spent the last 3 years as travelling pals. We went to Charleston and Savannah 2 years ago. Reno last summer. We had plans to go to Las Vegas next and someday to return to Savannah. Mexico and Cuba were also in our plans. He was great fun to travel with.

I miss Tomata and still can't believe that we've lost him. Yet I'm grateful that Tomata ended up in San Francisco and that I was able to see him so often the last months of his life. Despite his battle with cancer, he always maintained his love of life. I know that he had no idea this battle would end up taking his life. We always talked about the future. Tomata had to use a cane to get around and we looked forward to the day he could throw that cane away and run around SF like we used to. But of course, that was never to happen.

I miss him and think about him all the time. He was the closest friend I've ever had and no one can ever replace him. We loved each other. His death has left a huge void in my life and it's going to be lonely growing old without him.

I thank you, Tomata, for giving me such a wonderful life and for being such a wonderful friend. I hope that someday we'll once again be able to enjoy each others' company. I love you very much.

Chuck Fulton
thoughts I had at Tomata's memorial

Tomata was the most amazing front man ...

I was so sorry to hear about Tomata's untimely passing. I can not begin to
explain the impact this man had on my life. As a 18-year-old kid in Los
Angeles I was part of the first wave of the L.A Punk Scene. When I saw the
Screamers for the first time, I realized I too, had to be up on stage
fronting a punk band. I saw that band many times after that and I can say
confidently, "I have never seen a better live band to this day..." The
Screamers were hypnotic and Tomata was the most amazing front man I had ever
seen. He was also a very nice guy who would take the time to talk to me when
we crossed paths. As a matter of fact, I e-mailed him about a year ago to
tell him how much the Screamers meant to me, and he sent a nice reply with
his standard, "HiYa."

My band the VECTORS would never have happened if it were not for Tomata Du
Plenty. We will miss him very much!!

Dan Rosman (aka Taj Vida of the VECTORS)
The Vectors at Rave Up records

I knew Tomata ...

in the old days and never missed a Screamers (I wanna hurt was my fave song). He amazed me when he told me the painting he did of me was from memory (someone bought it). I attended all his showings in LA, the last being at baroque in Venice. Mr. Baby would always call me to let me know when Tomata was going be in town. He was my friend and I'm going miss him terribly.


Maddog, former drummer of The Controllers

Tomata's memorial was beautiful.

Jello Biafra was there and Penelope Houstin and many Cockettes too
Rumi, John Flowers, fayette, sweet pam   also V. Vale from RE/Search.

Moon Trent  9/22/2000
from the band Brown-Star

I first met Tomata...

in his Brooklyn apartment before he moved to LA and joined the Screamers. I didn't even know about his CBGBs performances then, but I was introduced by my friend Richie Detrick, who later went to SF and joined the Nuns. In Brooklyn, Tomata struck me as a shy, long haired kid. Later I was surprised by his punk personna with the Screamers. In the early 90s I had an article about early Punk Rock in Playguy magazine, and I was surprised to get an appreciative letter from Tomata, who was in New Orleans and an artist. Then in 1996 I had a short story in A & U magazine, about the last months of my young lover who was sick. Actually, I didn't show it to most of my friends because I thought it
might be too tough for them, but as I said to someone back then, to me it was just a love story. After it got printed, I got another surprise note from Tomata, who was then in Florida. All he said was, "Thank you for your love story."

Jerry Rosco