vintage channel vol.1 no.1

Vintage Magazine | June 2013

www.vintagechannel.com


ADS MUSEUM


MASTHEADVintage Chanel Magazine | Vol.1 n.1 | 2013

Publisher LORENZO TARTAMELLAEditor in chiefJOEY FRANCOManaging EditorLARRY HARGROVEAssociate EditorMARIA CHIAZZESEEditorial AssistantANNA CHIAZZESECopy EditorDAWN BARRETTOProof ReaderDEBORAH JACOBCreative DirectorsLORENZO TARTAMELLA, JOEY FRANCO,SARAH-LOUISE JEAN-LOUISPhotographySETH WALTERS, Layout DesignSARAH-LOUISE JEAN-LOUISContributorsLORENZO TARTAMELLA,JOEY FRANCO,VANESSA IOANA B, JAY EFF, LARRY HARGROVE

It is with great enthusiasm and pride, that we give you the first edition of Vintage Channel Magazine. This publication is part of Vintage Channel Networks, a family of brands which includes VintageChan-nel.com, FullMovies.com, Flixit.com, MyOldRadio.com, and Ads-Museum.com. The Vintage Channel Network seeks to use today's technology to bring the world yesteryear's entertainment. This fan-tastic issue is filled with film reviews, exclusive interviews and beauti-ful vintage materials.

Enjoy!

Lorenzo TartamellaCEO, President Vintage Channel Network, an iDataware Company

PUBLISHER’S NOTE


INTRO PAGE RADIO

n the evening of October 30, 1938 Ameri-cans sat down to listen to their favourite radio program. They had finished dinner and were gathered around the radio sipping cups of coffee, ready for a relaxing even-ing of entertainment. At approximately 8:00 pm the an-nouncer came on, interrupted the regular music pro-gram and told the listeners that an invasion by Martians was about to take place. This went on for the entire hour of the program with interrupted updates of the invasion. Panic set in as people ran onto the streets, hid in their basements and frantically reached out to loved ones. The country was in uproar.

As it turns out, they had been listening to a broadcast of War of the Worlds, Orson Welles’ infamous and now leg-endary radio hoax. At the time of the broadcast Welles was twenty-three years old. He hatched the idea for the broadcast as a Halloween prank, but could not have im-agined that it would be taken so seriously. The panic and outrage it inspired rocketed the young Welles to instant fame. Up until that point, he had lived a privileged but unremarkable life. It all changed that night.

Orson Welles was born on May 6, 1915 in Kinosha, Wis-consin. His father, Richard Head Welles, made a fortune with his invention of the bicycle lamp. His mother, Bea-trice, was a concert pianist who taught him to play the piano and violin. Despite his seemingly comfortable life, Welles suffered hardships. When he was four years old his parents separated. His father became an alcoholic just as the prosperous family business started to fail. Then at the age of nine, his mother died from jaundice. At that point, he stopped playing the piano. He was tak-en in by the Watts family and lived with them for several years. His father then died when he was fifteen years old and guardianship was granted to Dr. Maurice Bernstein. Welles attended Todd School for Boys, an independent school for boys in Illinois. There he


was mentored by a teacher, Roger Hill, who recognized his brilliance and encouraged him to study the arts and other subjects that interested him. It was here that he first staged theatrical productions and discovered his tal-ent for acting and writing. As a consequence, he got accepted to Harvard but decided to travel instead.

Upon his return to the U.S, he debuted on Broadway in a production of Romeo and Ju-liet, where he was spotted by John House-man. The two teamed up to form the Mercu-ry Theatre and produced and wrote several plays for radio.

Orson Welles’ radio career lasted several years and with his brilliant acting and sono-rous voice, he became a popular radio per-sonality. Americans from all walks of life tuned in on Sunday nights to listen to broadcasts of the Mercury Theatre, the company that Welles co-founded and which produced several ra-dio plays of repute. Long before the days of television, radio audiences were exposed to Young Frankenstein, The Pick Wick Papers and Jane Eyre. Welles brought these stories to life.

After the age of radio was supplanted by film and television, Welles made several films but none that received such critical acclaim as Citizen Kane. Although the film was a box office flop at the time, losing RKO Studios $150,000, it is now considered a classic and an example of the finest in American cinema. He made several films after Citizen Kane, and all were similarly commercially unsuccessful, so much so that he exiled himself to Europe.

Over his life time he was married three times, but had many more liaisons. He met his second wife, Rita Hayworth, during an episode of The Orson Welles Show. He was smitten with her and wrote her several love letters which she kept close to her for many years. He soon re-alized she was just an ordinary girl from Brook-lyn who happened to be extremely beautiful. Most of the women Welles had relationships with could not match his intellect until he met Oja Modar, the woman with whom he spent the last twenty years of his life. He had three children with each of his wives, but left his en-tire estate to his daughter Beatrice Welles, the youngest of his children.

Despite his genius, he never became the great success he deserved to be. Most of his accomplishments were achieved in his early years. He made some bad choices and paid the price for it. In his later years, he became obese and found refuge in alcohol. It was ru-mored that he ate two rare steaks every night accompanied by a pint of whiskey. He died of a heart attack on October 10, 1985.

Orson Welles will always be remembered for his brilliant radio career. He exposed Ameri-cans to first-class script-writing and acting. Americans heard The Mercury Theatre per-form Young Frankenstein, A Tale of Two Cities, Treasure Island, The 39 Steps and The Count of Monte Cristo. The plays live on and take us back to an era where we listened with our eyes, and saw with our ears.

Photos: Seth Walterspage 15

Listen Halloween with Orson Welles, the link is below.

http://www.myoldradio.com/old-radio-episodes/or-son-welles-halloween-with-orson-welles/4


Def Leppard and legendary producer Robert “Mutt”Lange were out to produce nothing short of a rock masterpiece. Lange took the approach of devis-ing a rock version of Michael Jackson’s Thriller album,

where every song was a potential hit single. “The ideas were so amazing,” recalls Phil Collen, co-lead guitarist and backing vocal-ist of the band. “I actually remember when we finished it off, me and Steve Clark listened to it and said even if this sells one copy, we would be thrilled with the way it turned out.”

As it turns out, Hysteria went on to sell more than one copy. In fact, the album has been certified 12X platinum in the U.S. by the RIAA, selling more than 20 million copies to date.

Collen describes the sound of Hysteria as a hybrid of rock and pop music, and all of their other influences such as Queen and AC/DC, on testosterone. The guitarist is also proud of the evolution of the band with the Hysteria. Their earlier albums gravitated towards a purer form of metal. “I think its growth as an artist. If you just stay stuck in a box… I’m in a metal band, I’m a rap artist, I’m this, I’m that… then that’s who you’re gonna be,” he says.

Lange’s approach was a success, and Hysteria spawned seven hit singles (“Women,” “Animal,” “Hysteria,” “Pour Some Sugar on Me,” “Love Bites,” “Armageddon It,” and “Rocket”).

Collen attributes Hysteria’s success to a combination of the band crossing new horizons, and Mutt Lange’s avant garde methodol-ogy. “I think one of Mutt Lange’s pure genius things that he does is he makes a hybrid and he brings it to the masses,” said Collen.

“It is about being open minded… if you’re a fan of music and good songs, then you’re a fan of any music and any good songs—so I like that approach to it. If you stay stuck in a box then you’ll stay there!”

Hysteria is characterized by lovely guitar parts, not necessarily complex, although Collen admits they ended up being really dif-ficult to play. Lange concentrated on emphasizing melody in the guitar parts, rather than the basic clichéd riffs found in more tra-ditional rock.

Every song on the album was recorded by individual band mem-bers separately instead of the band as a whole. The unique ap-proach to recording was one of the factors that led to such a long production.

It was important that the guitar segments were really clear and concise because Lange would pitch background vocals on all tracks. “Backing vocals is an instrument in itself, and again, you really need them to come through,” states Collen, who is himself a backing vocalist.

In addition to its commercial success, Hysteria is also critically aclaimed as one of the best albums of all time. It sits at #98 of Q magazine’s top albums and #472 of Rolling Stone’s top 500 albums chart.

As for Phil Collen, he would have never imagined that 25 years af-ter Hysteria’s release, it would still be a relevant piece of music; “not even after three years,” jokes the English musician. “It’s all good; it’s perfect that it turned out that way.”

Hysteria Album ReviewIn 1987, English rock band Def Leppard released their fourth studio album, but it wasn’t as smooth a process as one might imagine. The album’s production was plagued by illnesses, injuries, and the record took over three years to complete. The album name Hysteria is hence very fitting with respect to the frenzy that surrounded Def Leppard during the late ‘80s.


VC: You had another interesting role on How the West Was Won, with huge names in the classic...

SL: Well that was another whole thing. Just on a personal note, for me as an actor, you know, I got involved as an actor when I was a kid because I wanted to be on Westerns. I wanted to ride horses and shoot guns, as any little kid would. And I was never hired in a Western. All through the ‘50s, I never got one. All my friends got hired. They were on Laramie, and The Riflemen, you know, Johnny Crawford, just all the kids I knew were getting these Westerns. Didn’t happen for me until 1963, or ‘62 I think it was, when I got hired to do How the West Was Won. And you know even at that time, I didn’t realize the significance of How the West Was Won, which—it turned out to be significant because it was the last Cinerama feature film made, but you know, again, it had the stature of literally having everybody who was anybody in Hollywood at the time as part of the cast, you know. Jimmy Stewart, Henry Fonda, Gregory Peck, Debbie Reynolds... you name it, they were in the movie. John Wayne, literally everybody, so it was huge.

VC: So did any of these people become friends of yours over the years?

SL: Yes, I would know a lot of them. Or knew them. A lot of them, obvi-ously, have passed away, but yeah.... you know, you meet people. And I had no idea, you know, ‘til recently, I think in the last five years, there’s sort of been a resurgence of interest in Westerns, but with How the West Was Won almost being this sort of crown jewel of all Westerns, you have everybody in it. You know, it’s just—if you could pick one—

VC: Correct. But you were the pioneer child, and you are the pioneer child in the acting world.SL: I was. Yeah, I was the pioneer child. Well, I was the son of George Peppard and Carolyn Jones who went on to do The Addams Family, and George Peppard did, you know, a lot of movies before that, you know, Breakfast at Tiffany’s and God knows how many films, and had I-don’t-know how many TV series after that. You know, really great guy. But yeah—

VC: Your brother appeared, uh... in the show, in later part series. And how was that [unclear]? Were you shy? Were you afraid? Were you intimidated, you know, having a family member, you know, come on set suddenly, that must be a shocker.

SL: Well, actually, no—

VC: No?

SL: --because here’s the thing. Since there’s no nepotism in show busi-ness, right, my—I did a film with Paul Newman and Joann Woodward called Rally ‘Round the Flag, Boys! and originally who was hired to play my younger brother in that was my real brother! He tagged along with me on the interview. They needed a younger brother who didn’t really... I don’t know, he had maybe one or two lines, and I had probably more of a dialogue. But what happened was the first day of shooting, we were sup-posed to be watching a TV set when Paul Newman walks in and he says hi to us and we ignore him, watching TV. Well, the director looked at my brother and said, “You’re not looking at the TV set.” And my brother, you know, said, “Yes I am.” And so they shot it again and again and finally the director was really frustrated and said, “There’s something wrong with this kid’s eyes. He’s not looking at the TV set. He’s gotta be looking at the TV set.” And during the lunch hour, they sent him out to an ophthalmolo-gist to have a test done, and guess what? That’s where my brother found out he needed glasses. He had a eye that turned in and it made it look like he wasn’t looking where—well, by one o’clock, my brother was out of the movie and they hired another kid.

VC: Wow.SL: My brother got replaced. Although if you watch the movie and know where to look there’s one scene where my little brother eats some pocket change, and Woodward and the guy that’s playing the plumber have him upside-down and they’re shaking him, trying to get him to cough up the change. And if you look carefully, it’s not the other kid. It’s my brother. They just left it in ‘cause he was upside-down. I guess they figured no one would know and they didn’t want to reshoot it. So Barry and I worked together on that.

VC: As an extra?SL: Yeah. What happened was we worked together on that, and then about 1959 I guess it was I did an Ozzie and Harriet, and you know, they knew about my brother. My brother had just started getting some roles but by now, my brother looked completely different because he had glasses. It sort of became his trademark. He was the prototype nerd. And they thought he was cute with the glasses, and he had buck teeth, and I did an Ozzie and Harriet with Barry, which turned out to be the last Ozzie and Harriet that I did for the Nelsons before I went to do My Three Sons and couldn’t come back anymore, because in those days you couldn’t do two TV series. So my brother and I actually appear in an episode of Ozzie and Harriet together. Then I went on to do Ozzie and Harriet [sic] Barry kind of replaced me as the regular neighborhood kid on Ozzie and Harriet for about three years. And then as My Three Sons started coming along, he came over to My Three Sons about the third or fourth year, and he became like a friend of mine from school, from grade school, and we’d play together and do different things together. And about 1964, Tim

Stan Livingston

from My Three Sons

Interview with

by Lorenzo Tartamella

Actor, producer, director Stanley Livingston is best known for playing Richard “Chip” Doug-las on the long-running TV se-ries My Three Sons. Vintage Channel had a chance to chat to the LA based child star.


Considine, the actor who was playing the older brother, he was probably about 23 at the time, 24, he decided he wanted to leave the series, and so anyway, they needed a third son in a hurry, and lo and behold before their very eyes was my little brother. And they really liked Barry a lot and thought, ‘Hey, what if he was a foster child and the Douglas household adopts him?” And, you know, it made for a good storyline, and again, kind of a heartfelt thing that My Three Sons was all about in those days, so that’s what happened. They wrote the scenario that he was a fos-ter child, his foster parents were moving out of the United States, they weren’t allowed to take a foster child out of the States, so they talk to the Douglas household, who agrees to take custody of him. I think there was about four or five episodes that were written about this whole thing about Ernie’s life, about how he came into our thing, and then it culminated with him going to court with us and officially becoming a member of the fam-ily. And after that, we never discuss it again. He was just the official third son. For the show we needed to have a third son in a hurry, because the show was called My Three Sons.

VC: And he stayed on, that means he stayed on? Until the end, or only for a part of...?

SL: He stayed on, yes. He was there the rest of the series, from prob-ably—this occurred in 1965, so from ‘65 to ‘72 he played the younger son Ernie.

VC: So he’s your younger brother then.SL: Yes, he played my younger brother, yes. The original lineup was Tim Considine as the older brother, Robbie as the middle, and me as the youngest. Tim left, Robbie moved up to the oldest, I moved up to the mid-dle, and then Barry became the youngest son. And then other changes happened, too. Bill Frawley got sick, I think it was the fourth year. You know, he was in advanced age, and having health problems, couldn’t get him insured and they decided to let him go. They replaced him with probably one of the best character actors of all time, which is William Demarest. They brought him in, and instead of playing Bub, which is the character that William Frawley played—

VC: So did you remain close to the other members on My Three Sons? I know Don Grady... and I think Robbie died last year?SL: Yeah, Don Grady passed away at the young age of 68. He got can-cer and—

VC: Very young, very young.SL: Yeah, you know, considering today. I guess cancer does’t know any bounds, but it was pretty sad. Yeah, he got cancer and had been dealing with that for probably five, six years, and it just kind of took a turn for the worse last year, and by June, he was in really, really rough shape. In fact, we saw him about two—we went out, it was his birthday party, his 68th birthday party, and two weeks later he was gone. Yeah, it was really—

VC: So that’s touching then, to have lived—so it’s, it is like your real brother.SL: It is like your real brother, and for me, in a lot of ways, both Tim Con-sidine—who I’m very close with. Him and I do a lot of stuff together. We go to the Indy 500 almost every year. Well, obviously my real brother I’m very close with, but yeah, you know, when you’re a nine year old kid on a set ten, twelve hours a day, and these kids are your older brothers. You know, I’m sure they didn’t perceive me as the—maybe with the same fondness or brotherly love, but I didn’t have anybody else on the set, so I related to them as older brothers—

VC: You become best friends.SL: You become best friends, and in a weird way you almost think of them as your brothers, as your older brothers you never really had, through no fault of my own. I’m just a kid. I’m around them more than I was around my own family.

Vintage Magazine | June 2013Vintage Magazine | June 2013

Written by Joey Franco

page 25

Groucho Marx is heavily re-garded as one of he great-est comedians of the mod-ern era. He was quick with comebacks, and his wit was almost unsurpassed, even to this day. He is the undis-puted master of quick wit, and the 1933 film Duck Soup is the perfect example of his comedic genius. The film

was directed by Leo McCarey, and written by Bert Kalmar, Harry Ruby, Arthur Sheekman, and Nat Perrin.

Duck Soup stars the four Marx Brothers; Groucho, Harpo, Chico, and Zeppo. This is one of 13 feature films in which Groucho acted alongside his brothers, and the last of the Marx Brothers film to feature Zeppo.

Duck soup was regarded by Paramount Pictures as a box-office disappointment with regards to the previous Mark Brothers films released by Paramount. This was also the fifth Marx Brothers/Paramount picture in a five-film con-tract. The studio and the brothers decided to end their collaboration after this film.

Although Duck Soup was regarded as a commercial failure by Paramount, and it received mixed reviews from critics, it is today considered to be one of the finest of the thir-teen Marx Brother films. In 1990, Duck Soup was selected for preservation in the National Film Registry. It was also deemed by the United States Library of Congress to be “culturally, historically, or aesthetically significant”. This film has indeed aged like a fine wine and has truly taken its place in the history of cinema. It was also voted #85 on AFI’s 100 years 100 movies list, and #5 on AFI’s 100 years 100 laughs list.

The plot is quite whimsical and entertaining, like the brothers themselves. Rufus T. Firefly (Groucho Marx) is appointed as leader of the bankrupt fictitious nation of Freedonia by the wealthy widow Mrs. Teasdale (Margaret Dumont). In the midst of the new government of the ram-bunctious Rufus Firefly, neighboring country Sylvania is attempting to take over Freedonia. Sylvania’s diplomatic envoy to Freedonia ambassador Trentino (Louis Calhern) has a few tricks up his sleeve in order to claim the vulner-able nation. A series of comedic clashes between Firefly and Trentino results in both countries going to was against each other.

The two spies employed by Trentino to shadow Firefly; Chicolini (Chico Marx) and pinky (Harpo Marx) form a pow-erful comedic duo. One of the most memorable scenes in

Duck Soup is when Chicolini, dressed as Firefly mimics the head of state’s every move in a supposed mirror. This was not the first time that this type of scene was acted out on film. Charlie Chaplin delivered the same antics in the 1916 film The Floorwalker. Max Linder also included a similar scene in the 1921 film Seven Years Bad Luck.

The film’s finale is also memorable as Firefly appears in different war era cloths; from American Civil War getup to even a Davy Crockett coon-cap. There is no doubt that Groucho Marx is one of the most influential comedians in the early years of cinema. He is noted to have influenced modern day masters such as Johnny Carson, Woody Allen, Bill Cosby, and Conan O’Brien, to name a few. His signature Greasepaint Mous-tache and eyebrows, mustache, and cigar have become symbolic of the late film pioneer.

Duck Soup is surely a classic comedy, which did not re-ceive the praise it deserved when it was released. It was however a bleak period of depression and poverty, which is not the perfect time to produce a political satire. Re-gardless, it is and will continue to be a pivotal film in the evolution of the satire.

To watch Duck Soup and hundreds of classics on your computer, or mobile device, sign up for a membership on Full Movies, FullMovies.com.

www.FullMovies.com Sidebar:Memorable Quotes by Rufus T. Firefly

I suggest that we give him ten years in Levenworth, or eleven years in Twelveworth.

I’ll see you at the opera tonight. I’ll hold your seat till you get there. After you get there you’re on your own.

You’re a brave man. Go and break through the lines. And remember, while you’re out there risking your life and limb through shot and shell, we’ll be in be in here thinking what a sucker you are.

I’ll see my lawyer about this as soon as he graduates from law school.

Quick Notes: Release date: Nov 17, 1933 Running Time: 68 Minutes Genre: Comedy, Musical

page 27


If you want to bring excitement into your dull life, drink a Colt 45 malt liquor. This ad portrays the man sitting at a table on a runway unaffected by the goings on around him as he seems to be wait-ing fore a specific something to happen to liven up his day.

Named after running back #45 Jerry Hill of the 1963 Baltimore Colts, The National Brewing Com-pany introduced Colt 45 in 1963. It then became only the second national brand of malt liquor in America. The label design was a kicking horse and horseshoe, to signify the “extra kick” the drink provided.

This ad insinuates that after you have a Colt 45 (or more), excitement and adventure will appear in your life. This does seem to happen when one has a had a little to drink......

COLT 45

As it has been for over a century, the slogan, “The real thing” has been exclusively Coca Cola’ s marketing plan. Their commercials in the 1900’s most often featured a can or bottle of Coke be-ing opened and upon seeing the refreshing spray come from it, it kind of made you thirsty.

Coca Cola was introduced in 1886 in Atlanta dur-ing a period of prohibition, by John Pemberton. It was originally sold a patent medicine for five cents a glass at soda fountains, as Americans were un-der the belief that carbonated water was good for the health.

This particular ad asks us to “come on in” and en-joy a coke. Come on in where?

Why, any establishment, be it a store, a restaurant or even your own refrigerator!

The integration of the Winston Brand into the Flint-stones cartoon is a clever marketing ploy.

Back in the 1950’s, cigarette commercials were abundant and considered a staple of American class and tradition. You were truly cool and with it, if you smoked America’s leading brand.

Winston was introduced in 1954 and became the best-selling brand of cigarettes in the United States by 1966..

Using a tie-in with one of the the most popular cartoons of that time, gave them great exposure and visibility among U.S. Families that owned a television.

Winston’s slogan was, “Winston tastes good like a cigarette should.”

WINSTON

COCA COLA


Vintage Fashion: The Evolution of the Skinny Jean

Skinny

Ahhhh, the skinny jean. This jean has definitely stood the test of time, ever evolving into the different versions that we see in today’s fashion world. High-rise, low-rise, the boyfriend skinny, skinny with stretch, the” jegging option”- skinny styles are more readily available than ever. This style may seem innovative, but in all actuality, skinny pants and jeans have been around since the 50’s. But women weren’t wearing pants in the 1950’s…right? Well, yes and no. Besides, who says the skinnies were made just for females?? While mainstream American society was modest, buttoned up and demure, there was a sub-culture that was developing and they came to be known as “greasers”. They were aptly nicknamed this based on their greased, slicked back hairstyles.

Not sure exactly what these greasers represented? Reflect back to the movie Grease, which was based on the 50’s and Happy Days, which was set to represent the mid 50’s-the 1960’s. These rock pop culture rebels were on the American, Swedish and London scenes and they were going against all odds. Elvis Presley took the rock world by storm wearing some fitted rocker jeans and next thing you know, women and men alike were wearing these bad-boy drainpipes and loving every minute of it. Wom-en were probably more influenced by actresses like Marilyn Monroe and Sandra Dee, whom were wearing their pants slim and tapered at the ankle.

As we moved forward into the 60’s, fashion icons like Audrey Hepburn and Marilyn Monroe further took the look to another level. The pants were usually a higher waist with a capri or mid ankle length, but the skinny was definitely there. A fashion craze of skinny jeans and pants was sweeping the nation.

Vintage Fashion: The Evolution of the Skinny Jean

1960’s

1950’s

1970’s

1990’s

Skinny

Jean

Qiana L Williams

Not sure exactly what these greasers represented? Reflect back to the movie Grease, which was based on the 50’s and Happy Days, which was set to repre-sent the mid 50’s-the 1960’s. These rock pop culture rebels were on the American, Swedish and London scenes and they were going against all odds. Elvis Presley took the rock world by storm wearing some fitted rocker jeans and next thing you know, women and men alike were wearing these bad-boy drain-pipes and loving every minute of it. Women were probably more influenced by actresses like Marilyn Monroe and Sandra Dee, whom were wearing their pants slim and tapered at the ankle. As we moved forward into the 60’s, fashion icons like Audrey Hepburn and Marilyn Monroe further took the look to another level. The pants were usu-ally a higher waist with a capri or mid ankle length, but the skinny was definitely there. A fashion craze of skinny jeans and pants was sweeping the nation.

Throughout the 70’s, even as the bell bottom fashion statement was all the rave, rockers like Ramones, The Clash and Sex Pistols were going against the grain to get away from being labeled as hippies. This skinny-rocker jean continued on into the 80’s as punk and heavy metal bangers like Metallica and Megadeth continued on with the look. Pairing their acid and stonewashed skinnies with Converse and fashionable high-top sneakers, they took the look

to a whole new level.

Fast forward to the 90’s, skinnies were still go-ing strong as more “glam” rock bands like Guns & Roses, Skid Row and Poison were wearing their jeans and leather pants super tight with

boots or grungy looking high-tops . Pop icons like Michael Jackson wore their pants slim and cut-off at the ankle, but eventually the grunge and hip-hop culture scene took over and there was para-digm shift as baggy jeans and shirts superceded the skinny look.By the end of the 90’s and into the new millennium however, the skinnies were slowly making their way back into mainstream fashion. The popular Calvin Klein commercials always highlighted the skinnier fit on both their female as well as male models and the skinny was in fashion yet again.

As we fast forward to now, skinny jeans are readily available in just about every store you could shop in and they come in different washes, fits and a wide variety of colors and prints. Even the hip-hop scene has shifted from the baggy to the skinny; with icon-ic rappers like Kanye West and Lil’ Wayne wearing their pants super low and super tight.

Not sure exactly what these greasers represented? Reflect back to the movie Grease, which was based on the 50’s and Happy Days, which was set to repre-sent the mid 50’s-the 1960’s. These rock pop culture rebels were on the American, Swedish and London scenes and they were going against all odds. Elvis

Presley took the rock world by storm wearing some fitted rocker jeans and next thing you know, women and men alike were wearing these bad-boy drain-pipes and loving every minute of it. Women were probably more influenced by actresses like Marilyn Monroe and Sandra Dee, whom were wearing their pants slim and tapered at the ankle. As we moved forward into the 60’s, fashion icons like Audrey Hepburn and Marilyn Monroe further took the look to another level. The pants were usu-ally a higher waist with a capri or mid ankle length, but the skinny was definitely there. A fashion craze of skinny jeans and pants was sweeping the nation.

Throughout the 70’s, even as the bell bottom fashion statement was all the rave, rockers like Ramones, The Clash and Sex Pistols were going against the grain to get away from being labeled as hippies. This skinny-rocker jean continued on into the 80’s as punk and heavy metal bangers like Metallica and Megadeth continued on with the look. Pairing their acid and stonewashed skinnies with Converse and fashionable high-top sneakers, they took the look to a whole new level.Fast forward to the 90’s, skinnies were still going strong as more “glam” rock bands like Guns & Ros-es, Skid Row and Poison were wearing their jeans and leather pants super tight with boots or grungy looking high-tops . Pop icons like Michael Jackson wore their pants slim and cut-off at the ankle, but eventually the grunge and hip-hop culture scene took over and there was paradigm shift as baggy jeans and shirts superceded the skinny look.

By the end of the 90’s and into the new millennium however, the skinnies were slowly making their way back into mainstream fashion. The popular Calvin Klein commercials always highlighted the skinnier fit on both their female as well as male models and the skinny was in fashion yet again. As we fast forward to now, skinny jeans are readily available in just about every store you could shop in and they come in different washes, fits and a wide variety of colors and prints. Even the hip-hop scene has shifted from the baggy to the skinny; with iconic rappers like Kanye West and Lil’ Wayne wearing their pants super low and super tight. So whether you feel good, bad or indifferent toward them, it looks like no matter how you slice it, the skinny jean is going to be here to stay. I say embrace it; find your fit, find your style of skinny jean and work it out like no one else can but you!

Vintage Magazine | April 2013

1960’s

1950’s

1970’s 1990’s

Watch Streaming Movies Online

Visit FLIXIT.com

vintage channel vol.1 no.1

Documents

broadcast welles

vintage channel networks

young welles

years old

orson welles infamous

intro page radiopage

richard head welles

beautiful vintage materials