SAVAGE: Chapter Two

CHAPTER TWO
Etta Rawlings

Expensively framed platinum and gold records hung as if to intimidate visitors to Etta Rawlings offices in the Sunset-Vine Tower. Virtually every inch of space seemed to attest in silent affirmation that one was in the presence of a living goddess, whether she was there or not. Hanging among them were the life-sized portraits that adorned her album covers; breathtaking oils on canvas created by one of the most celebrated portrait artists' money could buy.

Etta was never photographed for her album covers, nor was any photo of her included anywhere on or about the cardboard sleeve, which protected the precious vinyl disk inside. This ingenious subterfuge had been carefully thought out at the beginning of her career and was a proven merchandising formula.

The portrait artist was on Etta's payroll whether he worked or not, the better to keep his work from use for the enhancement of rivals. Indeed, his contract held a clause giving Etta Rawlings a say in who he might or might not accept as a client. In all the years he had been working to help create the Etta Rawlings mystique, he had never been given permission to duplicate the likeness of another entertainer, American or otherwise. His portraits were amazingly lifelike, showing her in romantic, mystical settings that transcended photography. More importantly, they created an illusion of beauty that Etta did not, in fact, possess.

Etta's portrait features were not quite so African-American looking. The flesh tones had copper shadowing to soften the darkness of her skin. In short, they made her appear just a little less black.