In 1952, LIFE magazine assigned photographer Philippe Halsman to shoot Marilyn Monroe in her tiny Hollywood studio apartment. The resulting cover photo (at the end of this post) pushed her over the top, giving her immediate superstar status, and 20th Century Fox jumped to sweeten her existing multi-year contract to keep their starlet happy.
“I drove to the outskirts of Los Angeles where Marilyn lived in a cheap two-room apartment. What impressed me in its shabby living room was the obvious striving for self-improvement. I saw a photograph of Eleanora Duse and a multitude of books that I did not expect to find there, like the works of Dostoyevsky, of Freud, the History of Fabian Socialism, etc. On the floor were two dumbbells.
I took hundreds of pictures. Finally I asked her to stand in the corner of the room. I was facing her with my camera, the LIFE reporter and my assistant at my sides. Marilyn was cornered and she flirted with all three of us. And such was her talent that each one of us felt that if only the other two would leave, something incredible would happen. Her sex-appeal was not a put-on– it was her weapon and her defense.” –Philippe Halsman
“John Waters’ musical ode to the teen rebel genre is infectious and gleefully camp, providing star Johnny Depp with the perfect vehicle in which to lampoon his pin-up image.” –Roger Ebert. Well said. Depp has always deftly embraced ironic roles to deflect the trappings of his undeniable handsome-as-hell looks. 21 Jump Street definitely had the potential to pigeon-hole his career, had he been a lesser actor.
Cry Baby would go on to become a cult classic, due largely to the pouty lipped, chiseled face of a young Johnny Depp in his physical prime, and on a Harley to boot. (They used a Sportster and K model, both red, that they swapped a few times in the film apparently with the thought that it would go mostly unnoticed.) For me the enduring 1950s aesthetic is always a draw, and Waters’ witty one-liners are priceless. And let’s not forget the interest that was stirred up back then by the young and sultry Traci Lords. It was her first non-nude screen role following her controversial (not to mention highly illegal) underage porn career that was still hot on everyone’s tongues and minds.
A follow-up video to Part 1 (obviously) where Thor Drake goes deeper on the builders and their bikes that made the show so fucking awesome! Great imagery and commentary that adds a lot of color to the experience. Pure joy.
Milwaukee is the heart & soul of American Iron, and the builders there are often overshadowed by the big dogs on the East and West coasts. There’s a different edge to the Midwest scene. These guys don’t have the advantage of being in the lap of the media, and don’t seem to be the type to give a shit, actually. These guys are shop rats, toiling away in the dark, cold, solitude of winter with the will to out-design, out-build, and out-perform all comers. Now there’s a show to highlight the hardcore & headstrong talent of the Midwest–
MAMA TRIED MOTORCYCLE SHOW | FEB. 22 | 408 W. FLORIDA ST. | MILWAUKEE, WI 53204
“The Midwest guys, all winter they’ve been coming up with their own deal– and they’re kinda outside the loop a little bit. So that downtime that you have– it’s a chance that you can get pretty creative…You created something, and you’re riding it, and it might not be perfect– but it just really doesn’t get much better than that.” ~Noot (Charles City, IA)
Scott Toepfer, a guy I’m humbled to call my friend, came to the Jersey Shore to shoot the second annual The Race of the Gentlemen organized by Mel Stultz (OCC) and put on by the legendary Oiler’s Car Club. It’s an event that can only be adequately described by someone who was actually there in the thick of it– and Toepfer was kind enough to share his personal thoughts with TSY on the sights, sounds, and experiences had by a California boy in Wildwood, Jersey. Great stuff, Scott!
Fast Times at Ridgemont High (1982) remains one of my favorite teen / high school films of all time. It brilliantly captures the cultural touchstones of a generation, and the glory days of youth long gone by– before we were slaves to technology and all this social media bullshit.
A young Cameron Crowe, then a freelance writer for Rolling Stone magazine, went undercover as a student at Clairemont High School in San Diego, CA to write a book (of the same name), which he also adapted for the film. In Fast Times we get to witness a bevy of young Hollywood stars already in the making– Sean Penn (who totally stole the film, and birthed an army of Spicoli wannabes in high schools across the country), Judge Reinhold, Phoebe Cates and Jennifer Jason Leigh. There are also early appearances by relative unknowns at the time who would go on to major stardom– Nicolas Cage, (then Nicolas Coppola), Forest Whitaker, Eric Stoltz, and Anthony (Goose) Edwards. Fast Times’ soundtrack was also groundbreaking, featuring a quintessential blend ’70s & ’80s rock & roll artists, that to me, will forever be connected with the film. I mean, who can hear “Moving in Stereo” by The Cars without instantly thinking of that hot, hormone-raging pool scene? Epic.
Haters gonna hate, but eat this– In 2005, Fast Times at Ridgemont High was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. If you’re of this era it’s definitely a film that still resonates and makes you want to roll a fat one, throw on your Vans, hit the arcade, grab some tasty waves, and meet some babes.
“Niki Lauda had raised concerns about the safety of the track at the German Grand Prix at Nürburgring, but couldn’t convince other drivers to join him in protest. Due to a reported rear suspension failure, coupled with a wet track, his car swerved off course, hit an embankment, and burst into flames. Trapped inside the car, Lauda inhaled toxic gases and suffered severe burns to his entire head, including his scalp and eyelids. Lauda lapsed into a coma and nearly died. Yet just six weeks later, he was back on the track—and on James Hunt’s tail.” via
This past week, Lee Raskin (motorsports historian, author, and vintage racer) wrote and said he’d recently gotten some racing friends together for a Rush viewing night in Baltimore. He shared his educated theory on a deeply intriguing scene that seems to nod to an old school racing superstition. So with all due respect, esteemed Director Ron Howard, there’s a question that begs to be asked here…
So there’s this little festival called Chopped put on each year in Country Victoria – Australia. The guys were kind enough to send TSY a note as they thought we would appreciate the madness that they create down under… Enjoy!
Drag racing where it started– in the dirt!
A throwback in time to a 1950s – ’60s Hop Up Carnival! Hundreds of cars and bikes rattled by the sounds of 25+ bands belting the roots of rock music to thousands of Rockers, Petrol Heads, Hipsters & Greasers! This is Chopped the only festival of its type it in the world!
*HIPSTER ALERT* Ray Gordon and crew are back at it again! You call this working, Ray? Fucksake. Here’s a little behind-the-scenes film Ray shot with friends from Stetson, Hurst Racing Tires, and a couple of my favorite people in the world– Thor Drake, and Tori George at See See Motor Coffee.
“We went out and had one of the best days of our lives on Parsons Farm on Sauvies Island in Oregon. Yeah, it was a planned shoot but the fun was as authentic as it gets. It wasn’t a job. No money changed hands. Every summer I like to do a big self-promotion shoot. This was me being selfish and cramming all of my likes in one fun day. Incredible day with great friends! Thor & Tori from See See Motorcycles, Cody Adams from Hurst Tires, Kenny Wright from Motogalore, Jimmy 2Bottles, Casey, Meredith, Charity and the Parson brothers, John and Paul who own the farm.”
It was great being a part of 1st Annual NYC Motorcycle Film Festival in Brooklyn last week. Lots of great films and filmmakers were exposed to fresh eyes hungry for inspiring motorcycle art, culture, and history on the screen. An interesting after-film Q & A brought up a seminal motorcycle film of the 1960s, “The Leather Boys”, not just necessarily for the striking “Ton-Up Boys” and bikes– actually more for it’s place in history for being the first British film to be rated ‘X’ for having homosexual themes than actual nudity of a graphic nature, per se.
I was first exposed to “The Leather Boys” as a teenage fan of The Smiths (it was a very influential and transforming film for Morrissey, and many young gay men in England). Clips and images of the film and it’s stars were used in The Smiths’ video “Girlfriend in a Coma” and their single, “William, It Was Really Nothing.” In a 1988 NME interview at the Cadogan Hotel (where Oscar Wilde was arrested), Morrissey even said, “I’m almost quite speechless now, it’s a very historic place and obviously it means a great deal to me… to be sitting here staring at Oscar’s television and the very video that Oscar watched “The Leather Boys on.” (The ‘Oscar’s television’ comment, obviously an impossibility, is Moz being snarky and insulting the intelligence of the NME reporter…) Hearing “The Leather Boys” being referenced all these years later by filmmaker Eric Tretbar (Girl Meets Bike), and Paul d’Orleans of The Vintagent made me want to take a closer look at the historical influence of “The Leather Boys”, of which there is several layers.
Rita Tushingham and Colin Campbell in the iconic British film, “The Leather Boys”, 1964.