March Madness for great collectible watches continues with this awesome IWC Flieger UTC dual timezone beauty. UTC stands for Universal Time Coordiated (why, its right there in the dial!), the successor to GMT time as the standard for pilots. So it only makes sense that this late 1990s addition to IWCs fabled Flieger line features a mega cool UTC 24-hour readout right there on the dial.
See, you set up the watch so that both the 12-hour hands and 24-hour disc are in sync. Then when you travel this cool timepiece lets you set the hour hand independently either forwards or backwards via the screw down crown. But your hometime stays constant. A pretty darn cool way to design a GMT watch!
Not only that but the beautiful stainless steel case is built like a tank. It’s also sized like a jumbo Mark XI at an ultra-wearable 39mm, perfectly proportioned in my opinion. Plus this early reference 3251 still features its classic black and white “Mark”-style dial with mixed Tritium along with Luminova luminous for that classic aviator toolwatch look. Better yet all this wristwatch engineering and functionality represents terrific value for money in today’s bananas watch world. So strap it on and set course for distant lands. Day or night, this Flieger UTC could be the only travel watch you need in any hemisphere!
Ralph Lauren’s Polo is an old warhorse that still performs like a thoroughbred in its prime. Created way back in 1978, Polo escaped the trap that many of the other succeeding powerhouse Chypres like Antaeus, Salvador Dali and de la Renta’s Pour Loui fell into, that of a general lack of versatility due to their heavily nocturnal and overtly animalic natures, making them taboo in today’s more aromatically PC culture. No, Polo EDT is a cologne you can still spritz on happily in the morning after a shower despite its uhr-leathey nature. It is so wonderfully blended that the green notes easily balance out its more foreboding macho aspects, which to this nose simply summon up the active pleasures of the outdoors and the enjoyable time spent relaxing afterwards.
True there is nothing modern about Polo Green and the complaints about its old-mannish qualities are legion. But I have come to firmly believe as I’ve explored more and more men’s fragrances that trying a cologne once will never give you the full picture about whether it’s really going to work for you. You’ve got to revisit it even if you’re initially turned off and preferably let the juice in the bottle aerate after first use and then begin to macerate (I’ve come to also feel this is absolutely pivotal but more on that later). Much like a song you hear for the first time that does nothing for you but later becomes one of your favorites after repeat listenings, cologne can work its magic through repetition and familiarization. Such is the case with the initially intimidating Polo.
Polo definitely goes on strong at first spray with a veritable blast of soapy and astringent green notes like artemisia, juniper and pine, leavened by a very pleasantly smooth and slightly sweet lavender, all underpinned by what smells to me like a smoky, birch tar-like note. This last note is a harbinger of the heart of Polo, where the slightly harsh but exuberant green top notes give way to a classic patchouli-oakmoss-vetiver trinity that is blended into something warm and ultra-masculine but not too over the top. The base dries down into a rich tobacco-leather with a hint of woods and incense, one of the best in the game if not quite as on the nose as Bel Ami’s perfect imitation of leather. It’s comforting and yet stimulating, like pipe smoke in a leather lined study, as others have said before me (sometimes something’s a cliche because it’s true). Longevity is more than solid at around 8 hours and the ingredients in the current version still smell natural and very well blended, justifying the relatively steep price (about $85 retail for 4 oz, less on such reseller sights as Amazon and Fragrancenet).
It all boils down to an unimpeachably classic masculine fragrance, albeit definitely one from the old school (big props to its creator and longtime RL collaborator, Carlos Benaim). There is nothing unisex about Polo with zero aquatic notes and barely any sweetness — you can explore the endless list of Polo flankers for those effects — which is probably why so many young guys run screaming from it. I also admit to being nonplussed when I first tried it. It is definitely less initially user-friendly than the old school Fougères that I cut my teeth on like Paco Rabanne, Tsar and Lauder for Men. But the rewards are no less great than that classic trio and it is considerably more suited to everyday use than its near contemporaries on the Chypre scale like Aramis, Giorgio of Beverly Hills or Fahrenheit. So definitely a try before you buy — on skin not a paper strip — and preferably try several times over time to see if you don’t wind up loving it. That’s what happened to me and now I wear it at least once a week so long as there’s a hint of cool in the weather. If you’re going on a road trip, particularly somewhere rustic in the day with something country-sophisticated in the evening like a well turned out lodge, original Polo might end up being the only cologne you need to pack in your duffel.
The recent run of remarkable vintage Omegas continues into March with this stunning and ultra-funky 1969 Jumbo Constellation Day-Date. Featuring a large rectangular cushion style case and integrated bracelet that meets the case precisely at its widest point, this Connie is something of a precursor to other famous avant-garde integrated bracelet watches like the Gerald Genta-designed AP Royal Oak and Patek Nautilus. As a major design contributor for many Omega Constellations during the late 1950s and throughout 1960s who knows if there isn’t some Genta DNA in this model, as well?
Under that neo-futurist body beats the excellent caliber 751, arguably the last of Omega’s great in-house movements until the modern era. It was fully serviced in 2015 and features not only day and date complications but also a very cool quickest date function by repeatedly pulling the crown out to its second position. So once you set the day by full 24-hour revolutions of the hands it’s a piece of cake to match up the date, presto chango.
Its beautiful horizontally brushed Near Mint original dial changes tone in different light from pewter to bright silver and the watch as a whole is in Excellent vintage condition, showing little if any polish and displaying sharp chamfers. If you want to talk cheap thrills in the overheated vintage watch world this model of Connie has got be high up on the list. Space age cool combines with a fantastic analog heart to make for a premium piece that you’re not likely to see on anyone else’s wrist. Dig that!
It’s hard to believe there hasn’t been a comprehensive Eric Clapton biographical documentary until now. The legendary British guitarist has been a major part of the Rock firmament for well over 50 years yet we had to wait until 2017 before we got a full cinematic retrospective of Clapton’s rather amazing life and career. Thankfully, Lili Fini Zanuck’s Eric Clapton: Life in 12 Bars does its mythical subject justice, all the more so by humanizing the diffident guitar genius by delving into his troubled childhood and deep emotional troughs along with chronicling Slowhand’s blazing musical achievements.
Clocking in at a fairly long 2 hours, 13 minutes, Eric Clapton: Life in 12 Bars is definitely a conventional documentary and nothing groundbreaking in and of itself, tracing Clapton’s life in chronological fashion from his middle class upbringing in postwar Ripley, England, through his rise to superstardom and to the modern day. Thankfully, its exhaustive nature is much more illuminating than tedious, at least to a lifelong fan like myself. Clapton has always been a somewhat elusive character, both omnipresent in Rock culture and yet a bit opaque with a tendency to recede for long periods of time. Life in 12 Bars does an excellent job of filling in the major mysteries of his rather dramatic life.
Chief among them is the fact that Clapton found out at around age 9 that the woman he thought was his mother was actually his grandmother and that his real mother had abandoned him and fled to Canada after a brief war time fling led to his conception. This primal abandonment and subsequent rejection by his biological mother during his youth and adolescence — she had started an entirely new family in the following years — led to profound psychological scars, as well as intimacy issues. As so often is the case with a genius, though, this trauma also led to amazing artistic breakthroughs. After becoming obsessed with American Blues and R&B as a teenager, young Eric took to the guitar like a fish to water.
After flirting with graphic art at college, Clapton joined his first real band in 1962 at the age of 17. By 1963 he was in the Yardbirds as they starting their amazing run of Blues-inflected British pop, becoming one of the stalwarts of the British Invasion and one of its key innovators. Clapton left the Yardbirds in ’65 when he felt they were straying too far from their Blues roots for his liking, joining the more traditionalist John Mayall and the Bluesbreakers. While fruitful for Clapton’s evolution as a modern Blues guitar master, the relationship was short-lived and by late 1966 Clapton had teamed up with drummer Ginger Baker and bassist/voclaist Jack Bruce to form the ultimate power trio, Cream.
Cream, one of the earliest so-called “supergroups,” slowly built into a monstrously successful act, particularly once they crossed the Atlantic and began a string of mythical live shows in New York, San Francisco and across the United States. Clapton was also inspired by the emergence of another guitar legend upon the scene, Jimi Hendrix, perhaps the only true rival to Clapton in terms of pure technique (with apologies to Jimmy Page). This period was undoubtedly the high point of Clapton’s 1960s career, with both critical accolades and commercial success through his highly influential work as part of Cream, which for good or ill laid the groundwork for both Heavy Metal and the hard-edged Blooze music to come in the early 70s by bands like Deep Purple, Blue Cheer, Black Sabbath, et al.
However, all was not well in the band despite their massive success. Relentless touring and the deteriorating toxic relationship between Bruce and Baker led to a permanent rupture, with the band releasing their final album, the aptly named Goodbye, in 1970. After that, Clapton was off to the short-lived Blind Faith (“Cant Find My Way Home”), Delaney and Bonnie and Friends (“Let It Rain,” “After Midnight”) and as a super session man on all-time classics like George Harrison’s “While My Guitar Gently Weeps,” John Lennon’s “Cold Turkey” and “Go Back Home” by Stephen Stills, among many others.
The next key development for Clapton was the formation of Derek and the Dominos. The material for for their first album came largely from Clapton’s obsessive infatuation with George Harrison’s wife, Pattie Boyd. Despite the fact that Harrison was probably Clapton’s closest friend he pursued Boyd and essentially recorded Layla and Other Love Songs in an attempt to woo her away from the quiet Beatle. The title track and “Bellbottom Blues” were particularly raw expressions of unrequited love, as well as stone classics, and the whole double album is a remarkable artistic achievement that also featured key contributions from Duane Allman, a vital catalyst after Clapton and the Dominos suffered major creative blocks.
Bizarrely, despite its undeniable greatness the album failed in America due to the confusing pseudonym chosen for the band. Even more ominously, Derek and the Dominos proved to be a final zenith for the seemingly unstoppable Clapton for some time, as tragic events conspired to send him into a drug-fueled tailspin. First came the death of his guitar rival/soulmate Hendrix in September, 1970, shortly after the band had recorded a version of “Little Wing” as a tribute. By October, 1971 Duane Allman was also dead in a motorcycle accident (this fact is inexcplicably left out of 12 Bars). Perhaps worst of all, despite the passion of Layla, Pattie Boyd chose to remain with Harrison for the time being, adding to Clapton’s sense of hopeless desperation. After leading from the ramparts of the 1960s Rock revolution with ever-increasing influence, popularity and creative innovation, Clapton would drop out and spend the first several years of the 1970s as a heroin-addled hermit.
Of course, this is really only the first part of both the documentary and Clapton’s life story, albeit the most important and dynamic section of the film. 12 Bars goes on to recount Clapton’s struggles with both heroin and alcohol, his epically erratic comeback to live performance, his eventual rather hollow winning of Pattie Boyd as his wife (it didn’t last) and the tragic death of his young son Connor to a fall out the window of a New York skyscraper in 1991. I’m probably in the minority but there are a bit too many rather morbid home movies of his son set to “Tears In Heaven” for my taste after the scope of the loss has already been well established — and with the same images already seen immediately prior. No doubt this absolutely horrible loss was a key event in Clapton’s later life and a major turning point in his sobriety — not to mention the resulting song a massive hit for E.C and a ubiquitous Grammy-winning Unplugged performance. But it still seems like this section is padded out and the tragedy exploited in a somewhat unseemly and facile music video fashion.
Nevertheless, while it has its flaws Eric Clapton: Life in 12 Bars is a must-view for any serious Clapton fan and really anyone interested in the history of Rock ‘n Roll in general, particularly the lighting-fast developments of the British music scene in the 1960s. Along with the breadth of sorrows that the film lays bare in the man and his Herculean struggles to overcome them, which were only vaguely known by the general public, the documentary also makes clear by sheer accumulation the true scope of Slowhand’s importance. When dwelling on his solo output it has often been fashionable for Rock critics to render a verdict on Clapton’s work as somewhat disappointing, a bit of a Rock underachiever. But that narrow view fails to take into account the fevered vibrancy of his earlier work and the unsustainability of that pace, not to mention the multitude of his collaborations as a sideman and the undeniable quality of much of his later work in the 1970s, 80s, 90s and until the present day, even if what came after The Yardbirds, Cream and Derek and the Dominos was not quite as revelatory.
I think most of all what comes across is just how young Clapton was when he achieved immortality. By the time Layla was released in 1970 Clapton was all of 25 years old. It’s really no surprise then that he had not yet come to terms with his childhood emotional damage and was still somewhat stunted as a person even if he had already achieved world-conquering global stardom. The fact that he survived the perils of fame and his addictions to keep on recording great music and lived to become one of the grand old men of Rock at the current age of 72 is probably also just as remarkable considering the fate of so many of his contemporaries. In fact, Life in 12 Bars leads to one inescapable conclusion through its excellent exploration of a life literally defined by Rock and the Blues: Eric Clapton may not be God but he is somewhat surprisingly, based on his longevity, his collaborators and the overall quality of his output, the most important guitarist in the history of Rock ‘n Roll.
I don’t throw out Mint very often but this dial is that — beautifully aged Tritium and its high impact gray, orange & burgundy exotic Racing layout still having an intensity to the colors that is seldom seen. Featuring a tonneau case with sweeping lines and a fixed Tachymeter scale integrated into the mineral crystal to prevent the dreaded bezel knock off, the Speedy Mark II was an innovative design that showcased Omega’s modernist commitment to diversify their chronograph line above and beyond the tried and true Moonwatch.
This Speedy Mark II is also powered by the famed Lemania-based manual wind caliber 861, the same robust chrono caliber that is found in the Speedmaster Professional Moonwatch from 1969 on. And in fact the movement serial number dates the watch to precisely that year making it one of the earliest Mark IIs around.
Recently serviced and running like a top, with the case exhibiting extremely sharp chamfers and all the original factory finishes, this big chrono makes a pure vintage statement on the wrist while the exceptionally well preserved colors provide uncommon visual punch. Like the Moonwatch, the Speedy Pro Mark II is an iconic chronograph in its own rather daring, avant-garde way. Just strap it on and prepare to fall in love.
And just like that it’s February! Where does the time go? I can’t tell you that but I can tell you how to track it — with this absolutely gorgeous early 1970s Omega Seamaster “TV Case” chronograph featuring the amazing Lemania-derived caliber 1040 and a stunning metallic blue dial.
This fantastic Omega automatic chrono not only tells the time but also has complications for quickest date, constant seconds, 24-hour indicator and full chronograph functions for recording seconds, minutes via the characteristic orange-tipped “jet” center-mounted minute counter and 12-hour totalizer at “6.” This sexy beast also features a sunken dial that has aged to delightful purple-blue surrounded by a fixed Tachymeter scale protected by a mineral crystal, all in a large faceted rectangular case with wonderful sweeping lines that retains its original factory finish.
The TV Case Seamaster chrono is one of the more striking and distinctive designs that Omega came up with in the 1970s following the successes of their tonneau-cased Mark II & Mark III Speedmasters. If you’re looking for retro funk and terrific functionality with a stunning blue dial, you’ve found your watch. And when you look at how the prices of vintage mechanical chronos have skyrocketed in the past few years, the Omega Seamaster TV Case model in steel is a premium piece that still represents excellent value for money. Better pounce before these finally have their day in the sun!
First things first, let me just say that I am not a very big Duran Duran fan. I always found their big hits “Hungry Like the Wolf,” “Girls on Film” and “Rio” sort of overly bombastic and crude with Simon Le Bon’s vocal stylings lacking in nuance and modulation, almost but not quite shout-singing. And the lyrics are, frankly, dumb. If their MTV-fueled success was groundbreaking for the music video era and helped usher in the New Romantic movement here in the States — they were nicknamed the “Fab Five” at one point, for gods’ sakes — well, I have to say I much prefer the music of non-New Romantics like the Cure, The Smiths, Big Country, Echo & The Bunnymen and New Order, to name but a few of their contemporaries. Also there’s just something so time-specific about Duran Duran, from their very pretty ur-80s fashion sense to the Patrick Nagel cover art, that you can practically smell the Drakkar Noir wafting off their videos.
That said you’ve got to give the devil his due. Duran Duran did make extremely catchy singles and once in a while they could come up with a real beauty. Such is the case with the stunning “Come Undone” from 1993, quite late in their heyday.
One of the standout tracks along with “Ordinary World” from the band’s major comeback effort, The Wedding Album, “Come Undone” features gorgeous production, sinuous hooks and sophisticatedly mysterious lyrics. Le Bon’s vocal effort is also much improved 10 years on as he embraces an appealing Bryan Ferry by way of Micheal Hutchence croon. In fact the whole song does resemble one of INXS’s moodier ballads with the angular edges sanded off. Add to that a bevy of typically seductive Duran Duran hooks like a desperately sexy, helium voiced female vocal (“Can’t ever keep from falling apart at the seams”) replying to Le Bon’s darkly charged overtures (“Blow me into cry” indeed) and a well done arty video in an aquarium with crossdressing appeal and you come up with a Duran Duran hit that even a hater like me can love. And play on repeat, for that matter.
The green flag has just dropped on the unofficial official start of every new year’s racing season, the legendary Rolex 24-hours at Daytona, the top multi-class sports car event in the USA. This year’s race features new IMSA entries from Penske running Acura power and featuring his veteran Indycar driver, Hello Castroneves, who retired from the open wheel series at the end of the 2017 season. Joining Castroneves at Acura Team Penke is series champ Ricky Taylor, who left his father’s team and his brother, Jordan, after their 2017 title campaign for the chance to drive for the Captain. Should be interesting to see Wayne Taylor’s Cadillac going to to toe with his talented son in the Acura and Penske’s second team car for this race features 2016’s Indycar Champ Simon Pagenaud and legendary hot shoe Juan Pablo Montoya. So it looks like Penske has come to Daytona Beach with the clear intent to take home the trophy and the watches one way or another.
Also spicing up this year’s contest is 2-time Formula 1 World Champion Fernando Alonso, who is competing in the top Prototype category for Untied Autosports. Alonso is also scheduled to run the Le Mans 24-Hours this summer so despite the massively different circuits the Spaniard should still gain valuable endurance experience on the high banks of Daytona during his several stints over the 24-hours. Frankly, the grid is stacked with great professional racing stars from many different disciplines even if they’re not all household names and the action at this deceptively complex road course is always hot and heavy and well worth checking out.
Here’s the complete broadcast schedule for watching this great race across the Fox networks for the next 24-hours:
Saturday January 27
Fox: 2:00 PM – 5:00 PM (Green Flag will drop at 2:40 PM ET)
FS2: 5:00 PM – 10:00 PM
FSGO: 10:00 PM – 11:00 PM
FS1: 11:00 PM – 1:00 AM (Sunday)
Sunday January 28
FSGO: 1:00 AM – 8:00 AM
FS1: 8:00 AM – 10:30 AM
FSGO: 10:30 AM – 1:00 PM
FS1: 1:00 PM – 3:00 PM
Enjoy the unpredictable multi-class action and let the 2018 racing season begin!
A new year calls for a new watch, doesn’t it? Or in this case a new watch that looks remarkably like an iconic vintage watch: a beautiful Longines Legend Diver reissue. The great Swiss watch company paid perfect tribute to its 1960s-era ancestor, especially with this more coveted No Date version that I’m offering. It also boasts no depth rating on its dial, thereby making it a virtual doppelgänger to its legendary forebear.
A big steel bruiser at 42mm, this Longines diver has a heavy compressor-style screwed case like the original and a gorgeous glossy black dial with inner rotating elapsed time bezel that in this non-date iteration is pretty much a dead ringer for the vintage Legend.
Making this modern neo-vintage classic even more collectible, this example comes complete with its huge original box set with booklets, guarantee card and even the original hang tag. It also has its original signed strap and buckle. But I’ve personally fitted it with a robust Italian leather strap that I think matches the watch even better, the perfect strap mate if you will.
Any way you want to wear this legendary Longines diver — on land or on sea — you’re sure to make a lasting impression. Simply put, this watch is beautiful, functional and ultra-masculine. So strap it on and make your own legend in 2018!
A titan of motorsports and a tireless innovator for more over 60 years, Gurney survived the most dangerous era of Formula 1 in the 1950s and 60s and not only lived to tell the tale but thrived. Gurney participated in 86 Formula 1 Grand Prix and took victory four times, most significantly at the Belgian Grand Prix at Spa-Francorchamps in 1967, where he drove a car of his own design and construction, the beautiful Eagle Weslake, to become the first and still only American to win as both constructor and driver in F1. If that wasn’t enough in that banner year for Gurney and the USA, he had only a week earlier triumphed in the 24 Hours of Le Mans with co-driver A.J. Foyt in a Ford GT, again becoming the first all-American team to achieve that illustrious feat at the most famous 24-hour race in the world. It was on the Le Mans podium that a delighted Gurney first sprayed champagne on his teammates and the crowd after victory, something that instantly became a permanent tradition across all forms of motorsport.
Of course the podium celebration was not the brilliant Gurney’s only lasting contribution to racing. Blessed with not only movie star good looks but also an engineer’s keen mind, Gurney devised several technical improvements for racers and their cars that are still used today. Unusually tall for a driver at 6′ 4,” the big American became one of the first high level competitors on four wheels to adopt a full helmet and perspex face shield similar to that of those worn by dirt bike racers back in his Southern California home. He debuted the protective helmet designed by Bell at Indianapolis in 1968 and soon thereafter it became standard equipment for all drivers. In 1971 he came up with the now de rigueur Gurney Flap, a small right angle lip at the edge of the rear wing to increase rear downforce by creating vortices that enhance the airflow coming off the wing. In the early 1990s Gurney’s All American Racers team came up with a radical design for their IMSA Prototype entry that featured not only a small 2.1 liter 4-cylinder turbo engine by Toyota capable of producing a whopping 750 horsepower but also a monocoque chassis made entirely of carbon fiber, a radical proposition at the time, especially in sports cars. The AAR car also featured built-in aerodynamic assists from the front air intake holes and superior ground effects beneath. The result was the Eagle Mark III, a beast of a car that won the 1992 and 1993 IMSA drivers’ and constructors’ championships going away, including a streak of 17 wins in a row.
To the very end Dan Gurney was still utilizing his prodigious gifts as a designer and innovator, playing a key part in the radical Delta Wing project and even helping design and fabricate the carbon fiber landing legs for the reusable Space X rocket. But he shone brightest as a driver. In his heyday he won races in Formula 1, Indycar, NASCAR and sports cars. Only the great Mario Andretti and Juan Pablo Montoya have posted such a display of victorious versatility in all four major automobile racing categories. He survived several crashes in the unsafe cars of the 1950s and 60s, the second in a BRM at the 1960 Dutch Grand Prix that killed a spectator. It was then that Gurney remarked to legendary journalist Robert Daly that racing “is a cruel sport.” And yet even with a young wife and growing family Gurney persisted. Even through the deaths of his rivals and friends on the track over his long career — Wolfgang von Trips, Swede Savage, the Rodriguez brothers, Jimmy Clark, Bruce McLaren and Jo Bonnier — Gurney persisted and kept his foot down. He had full faith in his ability to delineate a necessary risk from a foolhardy one and when he started designing his own cars in the late 1960s he finally had full faith in his equipment, as well. A wonderful story teller, a survivor of a deadly golden era, a rarely matched driver and innovator and an all-around gentleman, Dan Gurney lived a true racer’s life from his teen years as a hot rodder in Riverside trying stay one step ahead of they cops to his discovery by Ferrari’s man in America, the brilliant Luigi Chinetti, to his remarkable, decades-long career full of victories to his final moments on the Earth just a few days ago. As the Spanish are fond of saying about a truly exceptional person — ¡Qué Hombre!
