Thursday, March 31, 2011

Vogue covers of the 60s: Part 1: Bejewelled.

Vogue 1965-1968

Some velvet morning.

One of my favorite songs ever.

Nancy Sinatra + Lee Hazelwood

"Some velvet mornin' when I'm straight
I'm gonna open up your gate
And maybe tell you 'bout Phaedra
And how she gave me life
And how she made it end
Some velvet mornin' when I'm straight

Flowers growing on a hill, dragonflies and daffodils
Learn from us very much, look at us but do not touch
Phaedra is my name

Some velvet mornin' when I'm straight
I'm gonna open up your gate
And maybe tell you 'bout Phaedra
And how she gave me life
And how she made it end
Some velvet mornin' when I'm straight

Flowers are the things we know, secrets are the things we grow
Learn from us very much, look at us but do not touch
Phaedra is my name

<Lee> Some velvet mornin' when I'm straight
<Nancy> Flowers growing on a hill
<Lee> I'm gonna open up your gate
<Nancy> dragonflies and daffodils
<Lee> And maybe tell you 'bout Phaedra
<Nancy> Learn from us very much
<Lee> And how she gave me life
<Nancy> look at us but do not touch

<Lee> And how she made it end...."

Wednesday, March 30, 2011


Stroboscopic dancers in motion.

Tuesday, March 29, 2011

Glittery draped sirens.

Derek Jarman, Journey to Avebury, 1971.

Via Sighsandwhispers

This is a Super8 film by Derek Jarman which captures this quiet, ghostly aura of this ancient Druid site in England.

Sighsandwhispers says,
"While Stonehenge was very impressive, it was at Avebury stone circle that I felt an immediate connection with my surroundings, which I've come to realise is the closest to a spiritual Other that I have ever encountered. The semi-constant appearance of the monoliths at Avebury in my dreams has precipitated a waking interest in reading the histories of Druidic Britain"

Colored fairy lights.

Monday, March 28, 2011

les Chanteuses.

Dusty Springfield, Mireille Mathieu, and  Juliet Prowse with Burt Bacarach on piano circa 1970.   Deliciously kitchy and cute, a strange mix of solo divas coming together on muzak-style Beatles arrangements.

Model girl Patti Boyd demonstrates the newest sponge-on method.

These are scans from a 1966 issue of a teen magazine revealing Pattie's make-up tips.

Ulla Bomser and Vidal Sassoon, 1965.

Via Mod Squad

Sunday, March 27, 2011

The kiss.

The wedding day of George and Patti, 1966.

A living doll.

The following is an article from Motion Picture Magazine 1966 about the marriage of Beatle George Harrison to model Patti Boyd: 

A Real Live Beatle Marries a

By John Howard

"The inside story of George Harrison's marriage to Patti Boyd, as told to us by his mother and mother-in-law!"

  I had been told by George Harrison, Sr., to get in touch with the Warrington police to find out the secret location of the 40,000-pound sterling bungalow that Beatle George Harrison had given his parents to celebrate his wedding.
  Accompanied by two plainclothes policemen, we drove from liverpool through Lancashire and Warrington to Cheshire. 
  Alas, the yellow-and-blue eaved bungalow, situated on the rolling Cheshire plain, looked deserted, and the bottles of milk were piling up on the front doorstep. A few telephone calls later, I learned that Mr. and Mrs. Harrison's plane had not been able to leave Heathrow airport because of snow on the runway, and were returning to the Liverpool area by train the following day. 
  An interview with George's mum-in-law, Mrs. Gaymer-Jones, awaited me at Wimbledon the following morning, so I flew off from Speke Airport.   I expected Diana Gaymer-Jones to be rather dishy from the intriguing wedding photographs I had seen. So my jaw dropped a few inches when the door to the modern, terraced house in Strathmore Road was opened by a youngish version of Honor Blackman (of Pussy Galore fame). 
  "Come in, Mr. Howard." she said. "You're just in time for coffee - how many sugars?" Diana Gaymer-Jones had just been collating press clippings of her doll-like daughter, Patti's wedding. So minutes later she was relating details of the romance that culminated in the wedding of the second last Beatle.

  "George proposed to Patti on the night of their first date. It was love at first sight for both of them. The evening before, Patti had come home from work on the film A Hard Day's Night to tell me that she had met george Harrison and that he had asked her out. She had to refuse him, however, because, up to that point, she had a steady boyfriend and couldn't cancel a date with him just like that. Still, George wasn't to be daunted: He proposed to pat many times after that.
  "It was so exciting the day she told me that she would like to bring George home to dinner. The children and I loved him immediately. He's such a fine boy and such a gentleman.
  "And it all happened before we knew it. There was never any engagement or engagement ring - both Patti and george just knew they were going to get married eventually, so they felt that an engagement was unimportant. But, I am pleased that my daughter decided not to marry too young. Pat told me a long time ago that she didn't want to get married until she was 21. I was really relieved because, you see, my first marriage took place when I was very young. Unfortunately both my marriages failed. So I was pleased that Pat was so sensible.
   "I first learned of the 'engagement' in a very casual way. Two Wednesdays ago, while we were driving to the theater, Pat told me very off-handedly, that she and george had decided to name the day. I nearly died of excitement. But I kept it a secret from all except two or three of my close friends - other than the members of the family, of course.
  "The children were really marvelous about keeping the secret too. Patti was originally going to have a short white fox fur by Mary Quant, but then decided on the red one. And she bought me a lynx fur hat for Christmas, which I wore to the wedding. Later on at the reception, though, I took off the hat and let my hair down. The suit I wore - I'm wearing the skirt right now, incidentally - was from Ely's, a store here at Wimbledon where I worked, as a temporary before the Christmas rush.

 "The morning of the wedding, the 'Princess' pulled up to the front door, Patti, her brothers and sisters, and I, were as excited as we could be. We drove to Epsom, arriving there before George, and were ushered inside. My brother, John Drysdale, who is managing director of Africa Research Ltd., was there to give the bride away. Two of our relatives were still expected. Brian Epstein, Beatle manager, started to get a bit nervous and suggested we get on with it.
  "It all went so swiftly. There was no music - I'm sure I would have cried if there had been. When the rest of our relatives arrived, we all drove off to george and Patti's new home at Esher to celebrate."
  "What did it feel like to have a daughter married to a millionaire?" I asked curiously. Diana replied, "We've never even thought of George like that. I never did believe money meant much at all. After having so many children, though, I realised that money is a necessary part of life. (Diana's other five children are, Colin, 20; Jennise, 18; she's a model, has visited the United States with Patti, and as a result gets lots of Beatle mail addressed to her; Paula, 16; David, 12, and Robert, 10.)
  "I must admit I am pleased to know that Pat will be comfortable and won't have to coo and scrub the floors. Of course, George and Patti have this wonderful housekeeper of George's, Margaret, to look after them. Margaret is a treasure. She doesn't live in but comes by each day to do the housework and prepare meals. Patti will plan the meals and cook the special delicacies for things like dinner parties.

"I must tell you, the wedding presents are piling up. The children and I gave Patti and George a silver dressing-table set. My brother gave them two Chinese vases that are about three feet high and have been in the family for generations, and Patti gave George two silver goblets. They are George III 1700 circa, I think. 'Mummie,' Pat said to me wonderingly, 'they mst have been awfully expensive.' "
  The mother of the bride is always happy when her daughter has made a good match - but it's sometimes sad for the mother of the groom. And Mrs. Louise Harrison in Warrington was no exception. 
  That evening I was finally able to reach her by phone, "Mrs. Harrison" I felt compelled to say, "you sound so sad. Don't tell me you're feeling a little down in the dumps about losing a son?"
  "Well," replied george's motherly Mum. "I have got to admit it, John, I do feel a little sad right now, now that the excitement of the wedding has died down. Then, too, I had a fall and hurt my arm just a few days before the wedding, and I really haven't been so well since." "I'm sorry to hear that." I said. "You see, I'm doing a story on the wedding. Would you mind terribly if I asked you a few questions?"
  "Not at all, John, go ahead."
  "Do you mind if I do the story based on our telephone call?"
  "Certainly," she said. "Go right ahead." And she began.
  "The wedding happened so quickly. George told us it was going to take place, but we didn't know when. Then only four days in advance, we got word of the exact date. It's a shame our daughter, Louise, couldn't come over from America, but we couldn't cable or phone her for fear the news would leak out. No celebration was planned for after the wedding, and we couldn't tell george's two brothers Harry and Peter and their wives about it ahead of time, either.
  "Nothing happened exactly the way it was planned. Mr. Epstein thought there would be a brief ceremony and that would be all. Harry and peter didn't know about it until the last moment, and by then it was too late for them to come down.
  "But George is planing a second wedding celebration, just for family, when he comes home to Liverpool with his bride. George is very thoughtful. It was so generous of him to give us this lovely home as a surprise. It's very much like his own bungalow. he has one large living room, which we don't have, and an extra bathroom, but the main difference is we have a room upstairs as well. But most important, george has got himself a lovely bride who will look after him well. Patti's a great cook, too. George likes good English cooking - like roast chicken and legs of lamb - and patti knows how to cook for him.
  "They are an ideal pair and I'm sure they'll be so happy together. They have had lots of cables from fans saying how pleased they are about the wedding, and there was loads and loads of mail from the fans waiting when they got home from London.
  "George and Patti wanted to keep the wedding a secret, and John and Ringo's going away served as a cover-up. Mr. Epstein and Paul were both best men, but it was Mr. Epstein and my husband who actually signed the register as witnesses.
  "I must admit I am pleased to know that Pat will be comfortable and won't have to coo and scrub the floors. Of course, George and Patti have this wonderful housekeeper of George's, Margaret, to look after them. Margaret is a treasure. She doesn't live in but comes by each day to do the housework and prepare meals. Patti will plan the meals and cook the special delicacies for things like dinner parties.   
  "We were a bit worried before the wedding, because a reporter came out to george's place at 6 A.M. and waited there for us to come out. George had to deny that he was getting married. Then the reporter's car followed us through the fog all the way up to the place at Epsom." (Luckily for the wedding party, the reporter took his photographer along, and Brian Epstein allowed him to take shots inside the Registry Office to supplement photographs taken by the Beatles' official photographer. Just as well, because none of the official photos of the actual ceremony turned out). 
  "We're pleased that everyone has been so happy about the wedding," said Mrs. Harrison. Meanwhile on the first days of their honeymoon as Esher two people were very happy for the sake of George's fans.
  "The fans have been just wonderful to us," said Patti. "They are used to it all by now. Fans are more sensible and sensitive than most people realise, and they've showed us they love George and the other Beatles for themselves." To a query about the possibility of future Beatle babies, George replied, "We 
have got some definite ideas on how to bring up children." "In a year or so we shall probably start a family," he added. "and we'll try to keep our children with us as much as possible. But at the same time we wouldn't want them to be mixed up with any publicity lark.
"But there's plenty of time to think about that," he concluded. "In the meantime, we are expecting to slip away on our honeymoon shortly."


Marianne Faithfull, circa 1966
[Click image to view larger size!]

Saturday, March 26, 2011

Style movie: Dollybirds.

One of the greatest examples of Dollybird style caught on film is The Touchables (1968),  you can watch the film in its entirety on youtube in 10 parts here.   Its loaded with lovely dollybirds and mods, plenty of mad capers and zany dialogue.  You can spy images of Patti Boyd among other iconic faces and references to the many colorful characters of sixties London.   Chalk full of make up, interior design and both mens and womens fashions of the era.  The value of this movie is mainly visual-- its a great timecapsule of 60s style-- but it also does demonstrate the tension of the era for change. Breaking with the traditional role for women in life and film, the jeune filles of this film are wise beyond their years-- knowing, crafty and seeking control.   As so many other movies of the time (Faster pussycat, for example) the dialogue is loaded with sexual innuendo and mild violence between the male and female characters show the disfunction/tension/imbalance in romantic relationships at that time. The plot is minimum: four dollybirds capture a pop star & have their wicked way with him. Gangsters and sundry other characters come into play as well. 

Friday, March 25, 2011

The Album Covers of Juliette Gréco.

Paperdolls: Juliette Gréco.

Brooding never looked so good.

Juliette Greco, existential French chanteuse of the 50s and 60s, didn't have a profound fashion presence, but the one main theme running through her wardrobe is a striking simplicity.  Her looks vary from carefree beatnik, in easy non-de script separates to bold, simple striking pieces.  From a well-worn pale blue fitted sweater--  like that great sweater you love which you put no thought into-- to a uniform silver sequined shift, all Greco's piece are simple-- the everyday to evening wear. The most pattern I've seen her wear may be a striped boatneck or button-down sweater.  The cuts of her clothing are all simple, 60s, clean lines.  Her album covers are always so fabulously Greto--  a cigarette hanging from her lip in a fitted black turtleneck or those gorgeously brooding eyes popping out from behind a basic, but stunning, red feather boa.   

I love her penchant for all things beatnik and dark: navy capes, black fur coats... She often wears all black get-ups on stage but, despite also having dark hair, never looks bland.  Her eyes are thickly lined with black coal and she peers out from false lashes... and with the bob and bangs the whole looks is so profoundly moody.  It makes me think that Audrey Hepburn's philosophical, Francophile model-thinker character's look in Funny Face was based upon Juliette Greco.   Even John Lennon loved Juliette's look.  He said in his autobiographical book "Skywriting by Word of Mouth" that Juliette Greco was one of his earliest images of his dream girl: the dark haired, intellectual, foreign artist.  He said this early dream girl image of Juliette paved the path toward Yoko.

570 EUR -

Aubin Wills stripe cardigan
$150 -

French Connection sweater
$32 -

A L C knit top
$295 -

Knit top
$110 -

Balenciaga turtle neck sweater
274 GBP -

Sonia by Sonia Rykiel striped top
153 GBP -

Rag Bone hooded coat
$275 -

Halston Heritage coat
637 GBP -

Halston Heritage short coat
228 EUR -

Thursday, March 24, 2011

Bang, bang...My baby shot me down.

This is certainly one of my all-time favorites and I want to put it in nearly every playlist I make.  It was originally written by Sonny Bono, and performed by Cher in 1966.  Sinatra's version is my favorite, although Cher's version, oddly, has a Nancy Sinatra-Lee Hazlewood almost country western, almost psychedelic sound at times... Sort of reminds me of "One Velvet Morning" as this haunting, 60s, genre bending tune.   Most people have heard this song through the Kill Bill Soundtrack where it captured attention again, bringing new awareness to this almost completely forgotten/ignored classic. The lyrics are an amazing piece of storytelling.  

I was five and he was six
We rode on horses made of sticks
He wore black and I wore white
He would always win the fight

Bang bang, he shot me down
Bang bang, I hit the ground
Bang bang, that awful sound
Bang bang, my baby shot me down.

Seasons came and changed the time
When I grew up, I called him mine
He would always laugh and say
"Remember when we used to play?"

Bang bang, I shot you down
Bang bang, you hit the ground
Bang bang, that awful sound
Bang bang, I used to shoot you down.

Music played, and people sang
Just for me, the church bells rang.

Now he's gone, I don't know why
And till this day, sometimes I cry
He didn't even say goodbye
He didn't take the time to lie.

Bang bang, he shot me down
Bang bang, I hit the ground
Bang bang, that awful sound
Bang bang, my baby shot me down...

The Anonymous Beauties of 60s Album Covers.

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