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.

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Double Take | Menjou & Morrissey


Adolphe Menjou, film star and style icon-- ca. 1927Morrissey, moody British crooner and the man that launched a million emo bands


Adolphe Menjoumorrissey

Adolphe Menjou below, elegantly reigned as one of the best-dressed stars of the silver screen during the 1920s, ’30s & ’40s.  The mustachioed sartorialist immediately brings to mind the dapper & distinguished gents of the Esky/Apparel Arts era of menswear illustration.  He always dressed impeccably and carried himself in a way that few could.  Look carefully at the picture below with the parrot on his shoulder– Glen plaid dress shirt & tie under a crazy, chunky houndstooth sportcoat.

Menjou above left, back in 1927 sans his signature full mustache and his flawlessy slicked-back hair.  The bottom left photo looks so much like Morrissey that I had to do a double take– well, the image is actually a photoshop creation merging the two style icons. 

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