Tag Archives: 1960s

What we’re reading — Becoming Elektra: The True Story of Jac Holzman’s Visionary Record Label by Mick Houghton

If you’re a classic Rock fan with a particular interest in the 1960s like me then Becoming Elektra: The True Story of Jac Holzman’s Visonary Record Label by Mick Houghton is a must read piece of music history. As its long subtitle proclaims, Becoming Elektra is both a biography of legendary music executive Jac Holzman and also a testament to Elektra Records’ uniquely eclectic and pervasive impact on the popular music of the baby boomer generation. Houghton traces Holzman’s pioneering technical efforts and prescient eye for talent with admirable thoroughness from the Folk boom of the 1950s and early ’60s to the LA-based psychedelic Rock explosion of the late ’60s to the Soft Rock adult contemporary acts that came to dominate radio in the ’70s.

Most famous for signing The Doors, Holzman’s legacy is much more than that admittedly awesome feat. He comes across as a fascinating and driven guy with an unusually compassionate feeling for his artists, as well as something of a technical visionary and studio perfectionist with a super wide range of musical tastes. A native New Yorker from a reasonably prosperous family, Holzman returned to the city determined to make his mark in music after precociously forming Elektra while still in college. Like so many of his generation he found that the action was happening downtown in Greenwich Village, where he opened a record store in 1951 with a small recording studio in the back. Holzman’s soon realized that the sound on the records for the folk performers of the time was nothing like the richness of their live performances. So Holzman abandoned selling records and focused on seeking out unique new talents and then recording them to their best possible advantage. That became the Elektra signature throughout his years running the label.

The list of artists that Holzman corralled is nothing short of astonishing. In the folk era it included Village stalwarts like Jean Ritchie, Phil Ochs, Judy Henske, Fed Neil, Tom Paxton and Tom Rush, as well as reviving the career of Blues pioneer Josh White and discovering a young Coloradan with a big voice named Judy Collins. Continue reading

1968 Vintage Rolex 1600 Datejust Smooth Bezel

tomvox1’s Watches for Sale — 1968 Vintage Rolex 1600 Datejust Smooth Bezel

It may be a new year but my obsession remains great vintage watches. Which is why I’m very happy to make my first offering of 2019 a classic and uncommon reference 1600 Rolex Datejust with smooth bezel in all-stainless steel.

1968 Vintage Rolex 1600 Datejust Smooth Bezel

This 1600 DJ dates from 1968 and features a super clean silver sunburst dial with original Tritium luminous and a minimally polished case. The special thing about the 1600 Datejust is its smooth, Explorer-style bezel. This reference was also made in much fewer numbers than the more ubiquitous fluted white gold bezel 1601 and the castellated steel 1603.

1968 Vintage Rolex 1600 Datejust Smooth Bezel

On the wrist all those clean lines translate into an absolute knockout. Even better, the stalwart caliber 1575 Chronometer movement has been recently serviced for maximum future reliability and faithful service for many more years to come.

1968 Vintage Rolex 1600 Datejust Smooth Bezel

Supplied with a very attractive and suitable shell cordovan strap this Datejust is a beautiful synthesis of sportiness and elegance. Its timeless design is just as handsome and masculine today as it was when it was manufactured those 50 years ago. So start the year in classic vintage Rolex style and make this great Datejust your own today!

1968 Vintage Rolex 1600 Datejust Smooth Bezel

Check out the complete ad with many more pictures and complete condition report over at Vintage Rolex Forum’s Market section. You’ll be glad you did.  SOLD

Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

tomvox1’s Watches for Sale — Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

It’s only fitting that in the month of Thanksgiving I’m offering up a special piece that any true vintage watch aficionado would be grateful to own — a 1960s Vacheron & Constantin reference 6308 dress watch in stainless steel.

Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

Much like their main rivals in haute horology, Patek Phillipe, Vacherons in steel are fairly uncommon, as both manufactures preferred to work in precious metals and still do to this day. This 6308 is also characterized by its full sized 36mm case diameter and an absolutely stunningly symmetrical dial layout.

Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

Inside this peerlessly elegant watch beats the heart of a champion — a JLC-derived manual caliber P454/5b with sweep seconds, 18 jewels, a whopping 8 original adjustments and stamped with two Geneva Seals, an attestation of particular horological achievement somewhat above and beyond the usual Chronometer certification.

Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

Coming with both its rare original USA-made brick link bracelet and a perfectly suitable thin black lizard strap, this Vacheron 6308 ticks all the boxes for the man of style and substance. With the Holiday Season just about to hit full stride I can think of no better wrist companion than this beautiful dress VC to accompany you to all your finer festivities.

Vintage 1960s Vacheron & Constantin ref. 6308 in Steel

Check out the full ad now with many more pictures and complete condition report over at the always busy Dealers & Manufacturers section at Watchuseek. If you’re looking for a timelessly elegant timepiece you’ll be glad you did!  SOLD

RIP Burt Reynolds, 1936 – 2018

The death of Burt Reynolds at the age of 82 a few weeks ago has been a real bummer. Burt was one of our heroes here at MFL, so much so that no one could bring themselves to write the tribute. Looks like I drew the short straw…

If you grew up in the 1970s or ’80s Burt Reynolds was about as close to a vicarious favorite uncle as you could get. With his swagger, hairy chest and mustache, not to mention a varying assortment of ever-changing custom toupees, Reynolds dominated the box office through a series of increasingly Dixie-centric action films that featured fast cars, hot & spicy women and real stunts. If the plots were a little less than Mensa-level they were redeemed by Reynolds’ knowingly wry performances, bemusedly observing some of the more ridiculous antics in a self-depricatingly humorous way that rarely failed to connect with his audiences. All Burt had to do was let out one of those high, hyena-like laughs and you knew that he was having as much fun making the movie as you were watching it.

Reynolds had a very long career and was already a known, working actor in the 1960s and at the dawn of the ’70s, with prominent parts on TV in Riverboat and Gunsmoke leading to title roles on the short-lived police dramas Hawk and Dan August. Somewhat burdened by his physical resemblance to Marlon Brando in his early career it took his performance as a macho businessman on a rafting holiday gone horribly wrong in 1972’s Deliverance to sear a distinct screen identity into the national culture and catapult Reynolds to the top of the Hollywood A-list. That role cleverly exploited the limits of the self-styled man of action when faced with uncontrollable circumstances and the shifting nature of the alpha-male within a small group under siege. The film itself, directed by that keen observer of male codes and primitivism, John Boorman, has gone down as one of the all-time classics, if a grim one. As if to undercut the somberness of his career-defining role in Deliverance, Reynolds became equally famous that year for posing semi-nude on a bearskin rug in Cosmopolitan magazine. Although he never failed to mention how much he regretted the publicity stunt even in the last interviews of his life there is no doubt that it gave a major boost his overall popularity if not his standing as a serious actor (and if he regretted it so much why did he also put out a risqué paperback called “Hot Line” that featured him bottomless in a football jersey among other playful beefcake photos?). His Cosmo centerfold in all its hirsute glory became one of the most iconic and subversive images of the ’70s, right up there with Joe Namath posing in pantyhose.

That was always the yin-yang with Burt Reynolds. He was the ultimate crowd pleaser but yearned to be taken seriously, capable of expounding on his personal foibles in unvarnished detail and then prowling around a studio audience of middle-aged ladies like a sex panther. Beginning with White Lightning (1973) and then its sequel Gator (1976), the first film he directed, Reynolds perfected the reliable screen persona of a good old boy out to stick it to the man, one that drew on his southern roots and proved enormously appealing to moviegoers both above but especially below the Mason-Dixon line. This character and formula found its apotheosis in the immensely successful Smokey and the Bandit, which was second only to Star Wars in 1977 box office gross receipts. Smokey and the Bandit brilliantly tweaked the Reynolds man-of-action character with a more comic slapstick approach and fused it with a host of ’70s zeitgeist touchstones like trucker CB culture, contraband Coors beer, Jerry Reed’s killer theme song “Eastbound and Down,” a feisty young Sally Field and Burt’s black and gold T-top Trans Am all while being pursued by a fat, tan and uproariously foul Jackie Gleason. But enjoyable as his redneck gearhead protagonists were, Reynolds most interesting work was often in more challenging and uncategorizable movies, parts more in the Deliverance vein that were propelled by some inner hurt within Burt that he worked so hard to gloss over most of the time.

He was particularly productive with director Robert Aldrich, another keen observer of flawed macho behavior, with the morally ambiguous and very moody L.A. neo-noir Hustle (1975) and even better as the footballer behind bars in The Longest Yard (1974). His Paul “Wrecking” Crewe in Yard is one the best roles Burt ever had, funny, cocky, sensitive and rebellious in all the best ways, outwitting the guards and a corrupt warden by whipping his misfit cons into a cohesive football team and cleverly finessing a seemingly no-win situation. His background as a serious amateur ballplayer was put to good use again in Michael Ritchie’s Semi-Tough (1977) alongside Kris Kristofferson and Jill Clayburgh in a very funny and very ’70s send up of football, its wealthy patrons and the patently ridiculous self-realization craze of the time. Other notable films of this era are Hooper & The Cannonball Run, more antic action frolics helmed by Bandit director and Reynolds’ pal Hal Needham, the ace stuntman & his former housemate; and The End directed by Burt about a man with a terminal prognosis determined to end it all in ineffectively hilarious fashion with the unwanted and homicidally zealous aid of Burt’s frequent sidekick during this era, Dom DeLuise.

Despite the star-studded guilty pleasure success of Cannonball Run, Burt was essentially running both the car chase genre and his grinning good ol’ boy persona into the ground due to a series of weak sequels — Cannonball Run II, Smokey and the Bandit II & III — finally bottoming out with the poorly received Needham-helmed stock car farce Stroker Ace in 1983. He had ridden this particular wave as far as the public wanted it to go and it had broken. He had also tried diversifying his screen persona with relationship comedies like Paternity (1981) and the very good Starting Over (1979). And he also explored relatively humorless tough-as-nails cops in the Clint Eastwood vein in crime thrillers like Sharky’s Machine (1981) and Stick (1985), both of which he also directed, as well as the rather more tepid Heat (1985). But even though those films hold up well now for the most part the reception at the time was decidedly mixed. The public was suffering from Burt Reynolds fatigue.

Worse still for Burt he was injured during the making of the Prohibition period pic, City Heat (1984), in which he co-starred with Eastwood himself on something of a Hollywood macho man action star dream team. His laudible penchant for performing as many of his own stunts as the insurance companies would allow, which earned him tremendous respect from the stunt man community, boomeranged on him when he was accidentally hit in the face with a non-prop chair, shattering his jaw. His recuperation would see him drop a scary amount of weight, leading to ugly rumors, and a debilitating dependance on sleeping & pain pills, which unfortunately would recur later in life. But he came back strong on the small screen with an appealing homage to small-town life, Evening Shade (1990-94), which won Burt an Emmy. Better yet was his auteur director of smut Jack Horner, adult entertainment impresario and surrogate father figure to a group of misfits in the porn industry, in Paul Thomas Anderson’s epic Boogie Nights (1997). It was perhaps his best acting since the early to mid-1970s, a fully realized portrait of an honorable man with artistic leanings in a scuzzy business, a professional with X-rated standards who resists the move to cheap, plotless videotaped carnality performed by amateurs and serves as the protector and enabler of his porn family’s dreams. It was a stunningly rich performance with a palpable backstory that not only earned him an Oscar nomination but also newfound respect in the industry for his acting chops.

His bewildering reaction to the success of Boogie Nights illustrated the conflicts raging beneath the surface of this seemingly glib stud. Despite its critical success Burt disowned Boogie Nights, claiming never to have seen it straight through. He feuded with prodigy director Anderson, although it seemed like a one-sided grudge as Anderson was willing to cast him in his next picture, Magnolia. But Reynolds turned him down. It’s unclear whether Reynolds didn’t really understand Boogie Nights, not only one of the best films of the ’90s but certainly one of the best performances of his career, or simply found the end product distasteful. But, like his reaction to the Cosmo centerfold that came on the heels of his breakthrough in Deliverance, Reynolds seemed intent on undercutting one of his greatest successes with needless public second-guessing and airing his discontentments. It was as if within the man there was an unresolvable conflict between being taken seriously as an actor to earn the respect of his peers and the absolute need to subvert that potentially pretentious goal by treating so much of his work as a series of mistakes or purely mercenary undertakings, often even the good stuff. His loudly professed dislike of Boogie Nights cemented his reputation as a difficult star to work with and short-circuited his comeback. Perhaps it even cost his that year’s Oscar. Along with his epically complicated relationships with women, including Dinah Shore, Sally Field and Loni Anderson, it all pointed to a strangely restless and unsatisfiable soul.

But in his best work on the screen — and in hours of old talk show clips still viewable on You Tube — Burt channeled those deep waters into the pursuit of having the best possible time, inviting the audience along with him for the ride and letting them in on the jokes like a lucky passenger in that famous speeding black and gold Trans Am. His physicality and daring were perfectly suited to action romps but behind the mustache and hairy chest was also the deft touch of an expert light comedian, a nearly unique combination in such a macho dude perhaps only paralleled during that era by the sly Roger Moore in a suave English version (and with some echoes today in Ryan Reynolds’ impressively deft action-comedy performances). He successfully escaped the massive shadows of Brando and Eastwood to create an entirely unique screen persona, self-mocking but capable, tough but romantic, anti-establishment but with his own code of honor, always a faithful friend. He was, above all, an absolute charmer, as self-effacing and yet as confident in his excellence and good looks as a Southern 1970s Cary Grant, the cackling laugh substituting for Grant’s untraceable accent. Like Grant, he was massively complex in real life, often dissatisfied and full of self-doubt. But in front of the camera he was a master and a “natural” by way of hard work and experience. To ponder all the happiness Burt Reynolds leaves behind through his extraordinary and prolific career, the omnipresent drive-in movie and videotape/cable TV background for those of us who came of age in the ’70s and ’80s, is precisely why his passing leaves us so bereft. There are a ton of Burt Reynolds movies out there to continue to watch and enjoy. But to think that he will never make another, never laugh that hyena laugh again while he burns out and outfoxes the law is more than a little bit sad. It’s more like losing a wry older friend from childhood and a masculine role model than simply another movie star. But isn’t that the mark of this special man and his particular quality of stardom? Adios and via con dios, Burt — you were always a great amigo.

In memoriam: RIP Aretha Franklin, 1942 – 2018

The great lady has now been laid to rest and all has been said about Aretha Franklin‘s inestimable greatness that needed to be said.

The New York Times obituary is here.

The Washington Post obit is here.

And fine Rolling Stone appreciation by David Ritz is here.

The only thing I can think to add is that she occupies the same hallowed place in American culture as other luminaries like B.B. King, Ray Charles and Michael Jackson, an elite group of seminal cross-cultural pop superstars, giants of entertainment in the second half of the 20th Century one and all. These are the special musicians and entertainers who bridged the gap between “black” and “white” music, in the process cross-pollinating the two for an even stronger hybrid that we recognize today as uniquely American popular music. Aretha, like those other greats who came before and after her, took from the past, put her own indelible stamp on it and left that as a foundation for succeeding artists to build upon, leaving us all the richer for it.

As if to nail that point home here she is in 2015 at the Kennedy Center Honors paying tribute to Carole King by singing the blockbuster hit “(You Make Me Feel Like) A Natural Woman” — causing Ms. King, the song’s author, to freak out in happiness, the first couple at the time to wipe tears from their eyes and the place to go nuts in general. That spellbinding Aretha magic in action, even at that late date.

https://www.youtube.com/watch?v=XHsnZT7Z2yQ

The Queen of Soul is gone but the voice lives on. Long live the Queen.

tomvox1’s Watches for Sale — August selection, Pt. II

August and summer are winding down but there are still hot watches to be had. Case in point — this beautiful vintage Rolex reference 1625 Datejust with engine turned white gold elapsed time bezel, aka the Thunderbird Datejust.

This beautiful T-Bird dates from 1962 and a has slightly later but nonetheless stunning silver dial with Sigma markings flanking the T SWISS T annotation. The Sigma symbols indicate solid gold markers and were only used by Rolex for brief period in the late 1960s and early ’70s. This lovely silver sunburst dial is Near Mint and its original Tritium lume is all intact and has developed a lovely patina.

Under the hood is the somewhat uncommon caliber 1565 Chronometer movement complete with its rare “balance guard,” a cool little vestigial detail. It is ticking away like a champ just like a Rolex should.

Coming on its likely original Swiss made rolled Jubilee bracelet this T-Bird presents beautifully on the wrist. With its handsomely crafted elapsed time bezel in solid gold the Thunderbird Datejust is the perfect blend of tool watch and elegance — a Sports watch for the board room, if you will — and certainly one of Rolex’s most interesting and innovative designs. And IMO, the white gold & steel version is the one to have. So grab it while you can!

Check out the complete ad over at the redoubtable Vintage Rolex Forum’s Market section for many more pictures and complete condition report. You surely be glad you did!  SOLD

tomvox1’s Watches for Sale — August selection

The phrase hotter than July has rarely been more apt because I’m offering up another stone cold classic to start this red hot August — a scarce French Air Force-issued Dodane Type 21 pilot’s chrono from the Cold War era.

Featuring an absoultely stunning dial that has aged to a deep chocolate brown, this Type 21 has all the sexy patina and wabi-sabi you could want in a military watch with loads of wrist appeal, not to mention terrific functionality.

Underneath the beautifully proportioned 38mm stainless steel screwed case is the fantastically engineered Valjoux caliber 235 hi-beat Flyback chronograph movement, still performing like a champ after all these years.

With its French Armée de l’Air Fin de Garantie service mark dating from 1979 this beautiful chocolate Dodane Type 21 has all the provenance any MilWatch enthusiast could need. And it’s offered at a fraction of the price of its Breguet Type 21 vintage brother. There’s no substitute for a genuine issued vintage military watch and, as the saying goes, they aren’t making any more of them. So get this amazing Dodane while you can!

Check out the full ad with many more pictures and complete condition report over at the always hopping Omega Forums’ Watch Sales section.  SOLD

tomvox1’s Watches for Sale — July selection, Pt. II

July must be the month for beautiful black dialed watches because here comes another one. This time it’s an even more uncommon mid-1960s reference 666-AD Ingeniuer with incredible glossy black dial. Part of the Big 3 of antimagnetic “scientist” watches from the toolwatch Golden Age along with the Rolex Milgauss and Omega Railmaster, the IWC Ingenieur is a legend in its own right and probably the most versatile of the that illustrious a-mag lot. Putting this rare original black dial over the top is the added signature of the legendary Zurich jewelry retailer, Türler. That’s really a rare touch on an already rare model!

With its well proportioned 36.5mm all-steel 3-piece screwed case and beefy safe-like design to accommodate the anti-magnetic Farraday cage, the classic 666 Ingy is both rugged and elegant, a real mid-century masterpiece. Originally water resistant to 10 ATM and resistant to up to 1000 Gauss of magnetic fields, the enemy of a watch’s balance spring, this version of Ingeniuer features the excellent 21-jewel caliber 8531 with date complication under the hood. With its unique Pellaton winding system it’s part of one of the best mass-produced automatic families in horological history.

To put the ice cream on the pie this classic Ingenieur comes on its original Gay Freres beads-of-rice bracelet with IWC-signed “globe” logo clasp, a serious find in its own right. If you’ve ever searched for one of these you know they just don’t come around very often, especially not with a black dial double-signed by Türler and on an original GF bracelet, so this is a great opportunity for the serious collector to own this iconic timepiece from IWC Schaffhausen. Don’t miss it!

Check out the complete ad for this killer Ingenieur now over at the always hopping Omega Forums’ Private Sales section for many more pictures and complete condition report. The chance to own an example as special as this one may not come again!  SOLD

tomvox1’s Watches for Sale — July selection

We may be well and truly deep into the heat of July but here’s something ineffably cool — a late 1960s Seamster “Special” with stunning original gloss black dial. Black dials are quite uncommon on Omega dress models of this era and are highly sought after. With its silver print and outstanding original condition this one’s a pip.

Dating from circa 1967-68 and powered by the redoubtable Omega in-house caliber 565 with quickest date via repeatedly pulling out the crown, this Seamaster is a well balanced and classic gent’s 35mm in diameter. It also comes on its period correct beads-of-rice bracelet, a nice bonus, as well as a hand made black leather strap for added versatility..

For some obscure reason — perhaps the enhanced luminous dial? — this model is referred to as a “Special” in Omega’s vintage database. It is also believed that this case and dial combo is likely one of Gerald Genta’s designs for the company. Looking at the beautiful proportions and ergonomics of this watch on the wrist one can easily see why. No doubt about it — Special is a term that truly fits this handsome devil.

Although Omega made a lot of dress Seamasters during this era, a solid steel model rather than gold plated version represents great value for money in my opinion. When you throw in its eye-catching good looks and that magical deep black dial, this Seamster “Special” is one of the true bargains of the vintage watch world. Grab it while that’s still the case!

Check out the complete ad now over at the always hopping Omega Forums’ Private Sales section for many more pictures and complete condition report. Better step on it — I don’t see this black beauty lasting too long.  ON HOLD

tomvox1’s Watches for Sale — May selection, Pt. II

The hits keep on coming as we merrily roll along in May. Newly on offer is this ultra-cool late 1960s Movado Datron HS360 Super Sub Sea diver’s chronograph with beautiful black and white inverse Panda dial featuring the more uncommon rotating Tachymeter bezel. It also comes on its original Gay Freres “Ladder”-style bracelet with Rolex-esque fliplock clasp & divers’ extension, a nice added bonus.

Under the hood of this big steel beauty is the legendary Zenith/Movado “El Primero” 3019 PHC automatic movement, the pioneering high-beat automatic chrono caliber that set the watch world on fire in 1969 and continues to be a technological pacesetter to this very day.

With its handsomely brawny all-steel case and uncommon rotating Tachymeter bezel giving it a racier look than standard diver-bezel counterparts this Datron just oozes “man of action,” ready for the track or beach. And with vintage Movado chronographs finally getting their due in long-overdue esteem it also represents great value for money now with good upside potential in future. And hey, who doesn’t like a classic Panda dial layout on their wrist?  This beautiful Movado Super Sub Sea El Primero is definitely ready for its close-up on yours.

Come check it out today on Watchuseek’s Dealers sales corner to see the full ad with many more pictures and complete condition report.  SOLD