Since depression is the watchword the past few days, I think this Eels song from 1996’s Beautiful Freak does an amazing job of encapsulating the hoepless feeling and the futility of someone else telling you to buck up. Listen to the lyrics and tell me if you don’t agree.
Sometimes the best way to beat sadness is to listen to sad music, especially when the singer has more than a passing knowledge of what he’s talking about (as frontman E certainly does). Not everyone’s preferred therapy, I’m sure, but works for me.
Ok, I’ve been procrastinating on posting this because it is so fucking sad. Robin Williams died this August 11th of suicide by self-asphyxiation. The great actor and comedian had been battling depression, as well as falling off of the sobriety wagon in recent years. Williams was just 63 years old. His New York Times Obituary is here and a very good A.O. Scott appraisal with video is here.
Obviously the tragic irony of one of the world’s funniest men succumbing to depression is well-trod ground by now. To think that someone that successful and accomplished could not get the help they needed to make it through the darkness is simply frightening. But in the end we often walk alone in this world and what drives an amazing artist, which Williams undoubtedly was, can come from the dark places of insecurity and sadness deep within, even if the art in question is comedy with a capital C. I can’t think of another person funnier than Robin Williams when he was at his manic improvisatory best. If a talk show appearance can be called art, Williams performed it, on Carson or Letterman or a million other venues that should never have had room for such pocket Dada free associative miniature moments of brilliance. He enlivened the most mundane show business rituals with electric bolts of inspirational lightning. The sense that he was barely in control of his manic energies only added to the thrill ride.
As the years went by, well after his comet-like appearance on the scene in the late 1970s, Williams evinced a melancholy sensitivity in movies like Good Will Hunting, Awakenings and Dead Poets Society that saw him turning into a sounding board for people in need of compassion, especially young people, and an outsider’s point of view to deal with a stifling world. But that sad smile has been there from the start like the tears of Pagliacci, at least as far back as The World According to Garp, Moscow on the Hudson and bursting to raw fruition in Terry Gilliam’s revelatory The Fisher King. That undercurrent of melancholia was probably a major part of Williams as a person when he wasn’t “on”, obscured in the early days by his irrepressible, some would say uncontrollable, daffy genius when he seemed to be very nearly Bugs Bunny come to life. To be sure, Williams felt loss and sadness keenly through the years with the deaths of such friends as John Belushi, Andy Kaufman, Christopher Reeve and, most recently, his mentor and idol Jonathan Winters. Maybe we just didn’t want to believe that such real life losses would take their toll on our favorite comedian.
A genius in more ways than one, Williams’ gift must have also been something of a curse, creating the expectation in his audience that he must deliver to them transcendental moments of hilarity on demand and at all times. Continue reading →
One of the literary world’s great mystery men, J.D. Salinger famously disappeared from public view in 1965, when his last work was published and 14 years after the release of TheCatcher in the Rye, arguably the most influential novel of the post-World War II era. Immensely private almost to the point of mania, Salinger’s opaque personal history and life in seclusion have fascinated generations of fans, literary peers, critics and the media. Shane Salerno’s 2013 documentary Salinger, which can be viewed via streaming with a Netflix membership, attempts to “find” the reclusive author by investigating and fleshing out his pre-fame life and examining the motives behind his self-imposed exile after achieving literary immortality. For the most part, it succeeds extremely well at this daunting task.
Not a great documentary but a pretty damn good one, Salinger features interviews with lifelong friends and acquaintances dating back to his pre-WW II days in New York City when he was just an aspiring writer striving for success and any sort of recognition. Significantly, it explores his engagement to the fetching debutante Oona O’Neill, Eugene O’Neill’s daughter, who eventually dumped Salinger for the much older Charlie Chaplin. Shortly thereafter Salinger was sent to Europe as a combat soldier in the Army. Salinger saw action on D-Day, in the Battle of the Bulge, the Battle of Hurtgen Forest and was at the liberation of one of the Dachau concentration camps. The documentary posits convincingly that it was these twin traumatic experiences, particularly his harrowing war service, which informed all his future work and lead to his compulsive focus on unspoiled youth, eventually driving Salinger to seek to create and control his own private universe.
It also chronicles how he was constantly submitting to and being rejected by his dream venue, The New Yorker, before during and after the War, even as he achieved modest success in the so-called “slick” magazines. He finally found a sympathetic figure at the The New Yorker in fiction editor William Maxwell, who agreed to publish “A Perfect Day for Bananafish”, which became a major success. It also introduced the world to the brilliant and strange Glass family through its troubled eldest son Seymour Glass, a shell-shocked war veteran. The history of the Glass family would later become Salinger’s lifelong obsession. But before that detour, several more short stories were published by the New Yorker, including “Uncle Wiggly in Connecticut”, which Salinger eagerly optioned to Hollywood for a film version. The result, a Dana Andrews-Susan Hayward romantic vehicle retitled My Foolish Heart, was so unfaithful to his original story that Salinger never again allowed a film version of his work despite his obsessive love of cinema and constant entreaties from producers, directors and actors.
But if Salinger was smarting over Hollywood’s betrayal he put that anger to good use, channeling his rage at the “phonies” into the archetypal youth novel, The Catcher In the Rye. Continue reading →
There’s no arguing that The Yardbirds were one of the most important bands at the forefront of the British Invasion following the Beatles trans-Atlantic seismic smash-through. They were also an incubator of greatness. There is no other band in Rock history that can boast of having three of the most legendary guitarists grace their lineup at different points in its evolution. But with first Eric Clapton then Jeff Beck and finally Jimmy Page, The Yardbirds can stake exactly that claim. While they were somewhat eclipsed as a band by their illustrious members’ later fame and renown, it’s important to remember just how bloody good and groundbreaking The Yardbirds really were.
They started out by covering American Blues with an original lineup consisting of lead singer Keith Relf, Paul Samwell-Smith on base, Chris Dreja on rhythm guitar, Jim McCarty on drums and the short-lived Anthony Topham on lead guitar. When Clapton replaced Topham and the band took over the Rolling Stones’ spot at the famed Crawdaddy Club in 1963 the word was out in R&B-mad London that there was a new force to be reckoned with. But, much like the Stones and the Animals, The Yardbirds were not content with traditional Blues covers despite their proficiency and they rapidly branched out into offbeat, minor chord arrangements and a desire to push the Blues further into a heavy rock feel by utilizing distortion and feedback. It’s no accident that the last incarnation of The Yardbirds was actually the first coming together of Led Zeppelin in all but name only. It can be argued that there is a direct line from The Yardbirds fist pioneering improvised raveups circa 1964 to the heavy English Blues explosion of the later 60s that led to not just Zep but Cream, Iron Butterfly, Free, Deep Purple and a million other hard rocking white boys, eventually morphing into Glam and Heavy Metal.
With the charismatic Relf’s distinctive, somewhat ominous baritone and the band’s penchant for offbeat tempos and Eastern influences, The Yardbirds consistently produced some of the most interesting singles of the 60s, beginning with their breakout hit, “For Your Love.”Continue reading →
When James Garner passed away the other week at the age of 86 I felt as if I had lost a favorite uncle. Wry, worldly wise, down to earth, a little cynical, a little cranky, very funny and definitely a man’s man, Garner was a uniquely successful and uniquely American actor. The native Oklahoman started out in 1950s television after a very brief theater apprenticeship, and quickly achieved fame in Maverick as the title character Brett Maverick, the dapper and quick-witted Old West card sharp who preferred talking his way out of trouble to shooting. He then rose to stardom as a romantic lead and action star during the last gasp of the old Hollywood studio system: alongside Steve McQueen and Charles Bronson playing the Scrounger in the all-star POW epic The Great Escape and wooing Julie Andrews in Blake Edwards’ sly, sophisticated anti-war comedy, the Americanization of Emily (Garner’s own favorite film). After the excellent Western comedy Support Your Local Sheriff and a foreshadowing turn as a bemused Marlowe, he found cultural immortality back on TV as the iconic and perpetually harassed ex-cop, ex-con gumshoe Jim Rockford.
https://www.youtube.com/watch?v=StcJVOIxLdo
For those of us who grew up in the 1970s, The Rockford Files was omnipresent, from the jaunty Mike Post theme song after the answering machine sequence to the initial run from 1974-1980 to the endless repeats in syndication. The series gleefully embraced a non-glamorous LA with the laconic and perpetually broke private eye working low rent bars and strip clubs while living in a cheap trailer home on Malibu beach, getting his meals from taco and hotdog stands and bouncing checks at the local grocery. It was a unique persona for a hero PI, totally at odds with, say, the slick rich kid mastermind of George Peppard’s Banacek. But then, maybe that’s why The Rockford Files went on to television immortality while Banacek, for all its tacky turtlenecked pleasures, is more of a fun footnote. There was just something so original about Jim Rockford as a hero: the loud sports coats with wide lapels; the wrongful conviction that gave him his cynical perspective; the beatdowns given and received; the clever ruses and identity games when on assignment; his meddling and very funny father (Noah Beery); and always a good old fashioned car chase in the mysteriously overpowered and rubber screeching gold Pontiac Firebird.
https://www.youtube.com/watch?v=Pruex3pgX1g
I told you that theme song was omnipresent! Garner was, in fact, an excellent driver and racer — he caught the bug starring in John Frankenheimer’s seminal racing movie, Grand Prix, competing in several grueling Baja 1000s thereafter — and did much of his own driving on the series, as well as many of his own stunts. Continue reading →
As July winds down to a close it’s my great pleasure to offer one last watch. And it happens to be one of the all time vintage Rolex icons: An early 1960s GMT-Master with gilt/gloss minute track dial, mini 24-hour hand, pointed crown guards case and beautifully faded “Pepsi” bezel insert, with the excellent caliber 1560 GMT chronometermovement under the hood still sporting its original Butterfly rotor.
I’m selling this one on behalf of a friend and I’m excited to be able to do so, as this classic two time zone watch is such an unmolested, honest example and with just enough WABI to show that it has lived a wonderfully full life. Among the 1960s steel Sports models, this early reference 1675 is right up there with the pointed crown guards 5512 chronometer Submariner as the most desirable and beautiful on the wrist. Simply put, if you want pure Vintage Rolex style of extremely high original quality, this is your watch. It’s not cheap, but then the best things in life never are.
The rain did come at the beginning of the Grand Prix at the Hungaroring making for a very exciting and eventful race. Come with me below the fold to see who triumphed amidst the chaos…
Wild Qualifying has come to be the norm in recent weeks and today’s action at the Hungaroring was no exception. Come with me below the fold to see how it all went down… Continue reading →
Summer’s here and the sky is bright, so you really need some good shades. That being the case, I thought I’d share my two favourites with you – Persol’s model 649 and the Aviators made by Randolph Engineering. The two sets of glasses are very different but equally cool, and both will protect your eyes from the ravages of sun damage whilst making women want you and men want to be you!
Persol Model 649
Persol 649‘s probably need no introduction. The frames, made famous by the likes of Marcelllo Mastroianni and Steve McQueen on screen and in real life, epitomized the insouciant cool of the 60’s and early 70’s film culture. Mastroianni’s image was that of the dapper rake, McQueen’s the rough and tumble man’s man. Either way the 649 oozed cool. And they’ve still got it. The 649 is a bit sturdier than Persol’s 714 model, an essentially identical twin but for the fact that the 714’s fold up. McQueen was often photographed wearing 714’s as well, but in my experience the 649’s hold up a lot better to wear and tear as there are less fragile parts involved. Available in a number of sizes and colour combinations to suit every face, you can’t go wrong with a pair of 649’s.
Marcello Mastroianni wearing his iconic 649’s in “Divorce, Italian Style”
Mr. McQueen smiling away behind his 649’s
McQueen sporting his 714’s, foldable sibling to the 649
There is however, one pair of glasses that would make me switch out my beloved Persol 649’s, and that’s the Aviators from the guys over at Randolph Engineering.
Robert Deniro’s Travis Bickle wearing Randolph Engineering Aviators in “Taxi Driver”
Since the late 70’s Randolph Engineering have been supplying the US Armed Forces with Aviator glasses, and like most mil spec items, they’re tough as hell and look really cool. Easily recognizable as the glasses of choice for military pilots, they look great on us civilians as well. They’re much better built than the more commonly seen Ray Ban Aviators, and they also come with a lifetime warranty on all the solder joints (which are the parts that usually fail on these glasses). Randolph Engineering also offers a variety of sizes and lens colours to get the right fit and sun protection, respectively. In fact, on the company’s website you can essentially create your own custom combination to suit your needs perfectly. Also, because they were designed for pilots, most of their glasses can be ordered with bayonet style temples, that hug the side of your head instead of hooking over your ears. If you’re a motorcycle guy, or an ATV or dirt bike enthusiast this might be the way to go since you can easily whip them on and off without removing your helmet. Randolph Engineering Aviators beat all others in my opinion because they really adhere to the “devil in the details” philosophy from design stage straight through production. If well built is your thing, go with Randolph Engineering. Oh yeah, Don Draper wears them. And Travis Bickle. And Johnny Depp. And Robert Redford. And Brad Pitt, and…oh you get the idea.
Randolph Engineering Aviators with bayonet style temples
Robert Deniro and Jodie Foster strutting the Mean Streets in “Taxi Driver”
Mr. Depp in a pair of blue lens Aviators by Randolph Engineering
So there you go. Go forth and protect those optic nerves! You can find Persol and Randolph Engineering on Amazon. However, with Randolph Engineering I recommend buying directly from the company. They’re easy to deal with and have good customer service (they even answer the phone!), and doing it this way ensures you’ll get the pair that’s perfect for you.
Here’s an unusual one: A highly sought after 1960s “Jumbo” Jaeger-LeCoultre Memovox alarm watch that features a very rare World Time center turntable disc with selected city’s of the world printed to represent the different time zones. As I say in my ad, I can’t say for sure that this disc is correct for this watch — JLC themselves do not have the records to verify that. And some experts maintain that the printing on a World Time disc shouldn’t encroach on the edge of the inner dial one iota. But certainly watch companies back in the day did some very non-standard things when they wanted to sell watches and this disc and the dial as a whole are definitely 100% factory original printing. One thing’s for sure: at a big 37mm and with those exotic cities filling out what would normally be empty space, this is one very cool and classy looking and Memovox.
