Uschi Digard always seemed to be larger than life.
She was an indestructible, formidable pin up beauty who was emblematic of the sexual revolution in California. From the late 1960s through to the early 1980s, she was in hundreds of magazine spreads, had many issues dedicated to her, and appeared in countless softcore films.
Her Amazonian features and natural good looks meant that she was always in demand as she proved popular with fans.
Or in the words of director Russ Meyer, her close friend and frequent collaborator, she was a buxom cantilevered barracuda who was a Trojan at work.
Improvising legend. Filmmaking maverick. Comedy savant. Screenwriting secret weapon. Elaine May is one the most important people in American pop cultural history. Why isn’t she more celebrated? That’s exactly how she wants it.
Film and TV drama is booming, with the streaming services Netflix, Hulu and Amazon offering audiences hit after hit on demand. But, according to the acclaimed director Mike Leigh, this comes with an unfortunate side effect: that young British film-makers are being held back by a powerful “new breed of executive”.
“We knew there was one thing we could do without legislation,” the senior official told me. When Mulvaney sits down with the president to discuss the Cabinet secretaries’ performance, the official said, “Dereg is going to be top of the list.”
Mind you, she’s one of those artists who has never really gone away – such is the breadth of her back catalogue.
Along with her big hits, there are the songs you didn’t realise were even sung by her; the covers by newer artists in ode to her; and the samples used on tracks by the likes of Kanye, Eminem, Bryson Tiller and Stardust.