Let's go to the British Carshow

Jonny's Super-Rare New Telecaster Guitar

NOTE: Thank you to Antoine for pointing out that this is in fact Dudu Tassa's guitar, borrowed by Jonny for the session! That certainly explains why it's such a rarity for Jonny!

A screenshot of Jonny with Karrar Alsaadi (vocals), Yanic Taichman (oud), Dudu Tassa (bass), and others in footage of Ya Mughir al-Ghazala live at The Hamam (youtube).

With Radiohead, Jonny uses his Telecaster Plus to cut through the other guitars in a mix, thanks to the guitar's mid-heavy Lace Sensor Red Dually pickups. He also breaks out his Starcaster when he wants richness with some sparkle. With Junun and the Smile, sparser arrangements leave space for the rich, slightly scooped pickups on Jonny's Les Paul Standard to shine. But Jonny has only rarely performed with a guitar fitted with single-coil pickups. Soundchecks in 2008 and The Daily Mail in 2011-2012 are rare exceptions. But paired with the Normal channel on Jonny’s AC30, his sound has remained warm and rich even with those guitars. It’s never been what you’d normally associate with a “Telecaster player”.

However, for his new collaborative album with Dudu Tassa, Jonny has broken out a Tele with standard single-coil pickups. You don’t need to look at the video to hear the different, the sparkle of his tone is a real surprise! The tone blends very nicely with the warmer sounds of the brass ensemble and Tassa's riffy bass playing. On first hearing the initial single, Ashufak Shay, I assumed Tassa must be playing guitar because it was so bright — now you know I'm not so sure.

Jonny playing his butterscotch guitar during Ya Mughir al-Ghazala live at The Hamam (youtube). Note the 1-ply 5-screw pickguard and the three round brass saddles at the bridge.

We did see a butterscotch Standard on a stand behind Jonny during tour rehearsals with The Smile last year, but that guitar had a white pickguard. Jonny decided not to bring that instrument on tour with the band, and we've never knowingly heard it on a The Smile track. But the new footage of Ya Mughir al-Ghazala makes it clear that this new butterscotch guitar is a very unusual “Standard” Telecaster. The heavy wear to the butterscotch finish suggests that it’s vintage, as do the three round brass string saddles. However, the key is the headstock…

But before we reveal the new instrument, a little context on Jonny’s other guitars: while the 1970s Fender Starcaster might be a rare and expensive instrument today, it was fairly undesirable when Jonny bought his in the 90s. Similarly, Jonny’s late-70s Les Paul is from what many consider to be the companies worst period (the “Norlin” era), and it too was fairly undesirable in the 2000s when Jonny acquired it. And he bought his first Fender Telecaster Plus brand new from a guitar store after the band were signed. While Thom and Ed have grown increasingly interested in vintage guitars, Jonny has generally kept the same guitars and focused his energy on learning other instruments instead.

Jonny playing his butterscotch guitar during Ya Mughir al-Ghazala live at The Hamam (youtube). Zoom in on the headstock to see what's missing!

That makes Jonny’s new guitar all the more surprising. It seems that when Jonny goes vintage, he goes all in. The headstock on Jonny’s butterscotch Tele features a “silver spaghetti” Fender logo, which suggests that it’s a pre-CBS instrument. But the real key is the empty space below the logo. The guitar has no “Telecaster” name on the headstock! That makes it one of fewer than 500 “no-caster” guitars produced by Fender between February and September 1951. Earlier that year, Fender was forced to drop their original “Broadcaster” name after learning that Gretsch already produced a drum set called the “Broadcaster". Until they settled on “Telecaster” (a hybrid of Television and Broadcaster), they simply shipped guitars with no model name. For more info on the No-caster, fuzzfaced.net has a great page on it!

Given the rarity of the instruments, purists are probably furious that Jonny crammed some 0.88mm Dunlop picks into the vintage single-ply pickguard. That said, it was clearly well loved and well used by the prior owner — the fingerboard is visibly missing much of its original finish already. And I’m sure most would agree that it’s better to hear it used for music, rather than see it sit in a case to retain its condition.

Jonny playing his butterscotch guitar during Ya Mughir al-Ghazala live at The Hamam (youtube). Notice the nice patina on the strap button.

We should also mention that Jonny did very briefly tour with a white Telecaster Standard in 1992. That instrument, in a white finish with some black tape or paint, was Jonny’s first guitar, purchased from his guitar teacher when he was 14. It’s visible on a stand in a photo from the recording of the Drill EP, but Jonny probably didn’t use it much since he’s seen playing his Telecaster Plus in the same photo. That guitar was unfortunately stolen on May 15, 1992, during Radiohead’s first tour, and hasn’t been seen since (it’s not to be confused with the two Tele Plus guitars stolen in 1995, one of which was returned in 2014).

A rare photo from the recording of Radiohead's initial Drill EP. Jonny's original Telecaster Standard can be seen on a stand behind Thom, who is playing a black Telecaster Standard of his own.

The Secret of Successful COLLECTION OF MOVIE POSTERS

There is a great deal of history behind movie posters and movie poster collection. Jules Cheree, who created two movie posters in the 1890s, was the artist credited with creating the first movie posters. By the end of the 2000s, films had become a major source of public entertainment. During this period, the movie poster will become a standard size known as a single sheet of 27" x 41".

In the early days, actors' names weren't on the labels, which movie studios liked because it meant actors had to pay less money. However, during this early period in film history, film studios realized that movie stars were more attracted to moviegoers than the movie itself. Thus the movie star was born, and movie posters began showing the names of the actors along with the movie title.

In the 1920s, the golden age of silent films, movie posters became more artistic and exciting, with skilled artists employed by film studios to paint portraits of stars for posters. In the late 1920s, movie poster images became more visible due to a new printing process developed by Morgan Litho.

In the 1930s, also known in the film industry as the "Golden Age of Film", another style of movie poster was created, the half-sheet. Big movies can sometimes have more than one of the two styles. However, due to the depression, many film materials were made cheaper, which caused quality loss in film posters.

When World War II began in 1941, many movie stars were turning to war, and war was the main theme of films at the time. The film industry reduced advertising costs and used cheaper paper for posters due to wartime paper shortages.

In the 1970s, movie posters used photography, sometimes with drawing and painting methods. Movie posters at this time were printed on clay-coated paper, giving them a glossy finish. Star Wars and Star Trek stickers were the most popular stickers at the time and many still collect them today.

In the 1980s, the boom period of special effects, the small paper was invented and video stores became popular, thus the video store poster was created. Today, movie poster printing is mass-produced and sold in many stores or just a click away on the Internet. 

There are several types of movie posters. Due to their rarity, a passionate movie poster collector has focused on movie posters or theatrical art. These are posters that are delivered and shown in theatres and then discarded. Another type of movie poster is the commercial poster, which is mass-produced for direct sale to the public. Video posters are distributed to video rental stores for promotional materials. Cable and TV posters are used as promotional materials for television stations for their programmes. 

Like theatre art, video posters, cable and television posters are not produced for the public. Although not as valuable as theatre art, these types of posters are still popular with collectors. Special promotional posters promote a movie with a product. Finally, there are the anniversary numbers, limited editions, and special editions that are published in limited quantities and are gaining traction with the theatrical art collector. 

Other types of movie posters include pre-made posters that promote the movie well before the movie's release. Award poster indicating that the film won an Academy Award. A composite poster that advertises two films instead of just one. The popular double-sided poster that has art on both sides, with the artwork reversed on one side of the poster. There are featured posters highlighting short films or animations, review posters for when the film gets a good review, series posters for movie series, and special distribution posters.

With the popularity of movie posters, the necessity of creating posters of different sizes has emerged. The first and most commonly used poster is the single sheet, usually measuring 27 x 41. The metro, also known as two sheets, is larger, but not exactly twice the size of one sheet. 3 sheets are three times the size of the single sheet and measure 41" x 81". The six sheets are six times the size of a single sheet of 81" x 81". There are also 12 sheets that are about twelve times the size of one sheet, and the Mega sheet 24 measures 246 x 108. Other sizes include the mini sheet, which is usually much smaller than a single sheet and comes in different sizes, and the stock newspaper issued for cartoons or pants.

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Vintage red alarm clock

In the pencil style, they remind of us the hands used on many Rolex Oysters of the same era. A lot of the value attached to particular models of vintage watches relates to their dial formats and if this variant was to be found in a Jaeger LeCoultre wristwatch from the same period, it would command a very high price.Īll three hands are entirely original. This look could not be more evocative of the 1930s. We have no knowledge of the history of this item, but for its original dial to have survived so unscathed it seems almost certain that it must have spent a lot of its life tucked away in a dark, dry drawer or safe, well away from the bleaching effect of bright sunlight and any moisture that might otherwise have crept around the sides of the glass.ĭial numerals do not get a great deal more attractive than the art deco items here. There is no noticeable ageing to its surface at all and none of the spotting that we almost expect as standard on original dials of this age. It has not been restored, yet it remains in a condition that to all intents and purposes is just the same as it was in 1936 when new. This dial is guaranteed to be completely original. There are very few watches from the 1930s that have untouched, unmolested dials in a near mint state and if we take this into account, the high prices realised by these scarce items begin to make logical sense. In watches, just as in other forms of antiques, rarity has a direct correlation to worth and desirability. Many of the pre-war watches that we see in our business, in fact we could phrase this more strongly and say most instead of many, are with dials that are either original and in noticeably deteriorated condition, or, perhaps worse still, dials that have been restored and are devoid of all originality. On any vintage timepiece, whether a clock or a wristwatch, dial condition and originality are key factors in establishing value. Similarly, these items have a weighty, high quality feel and one would not wish to carry them far in a pocket for very long. This one has a height of 95mm, a width of 63mm and a depth of 22mm. A number of makers produced clocks in the 1930s that were intended to be carried in handbags, but these Jaeger LeCoultre models were far more substantial, being suited for use as desk or bedside clocks by both ladies and gentlemen. Those who haven’t seen these clocks in the flesh are often surprised by their large size. The hide covering on this clock is guaranteed to be authentic and untouched, and is in extremely good condition. We certainly do not criticise this approach and it seems sensible to try to restore items that might otherwise by broken up for spare parts, but even so, we would always advise our customers to obtain an all original example for investment purposes. Particularly in the past two or three years, we have seen a number of these models surface that have been re-covered with new leather, presumably because their original coverings were badly damaged. We must remember that while these items are sought after now, in the 1970s when traditional mechanical timepieces had little commercial worth, they were simply viewed as outdated relics of a long past era. While they were very expensive when new and very much a product intended for the inter-war smart set, a lot of the Jaeger LeCoultre clocks in circulation today have been treated badly and are now looking rather shabby. We could easily imagine this item sitting in the window of a Prada or Chanel boutique in central London or Leeds alongside brightly coloured luxury designer handbags, gentleman’s accessories and highly priced leather goods. Interestingly, this look is something that has been used by several of the current fashion houses in recent years and despite its very strong art deco 1930s styling, the clock has, oddly on the face of it, a very modern appearance. The combination of the salmon pink dial, pink gilt bezel and this red hide is very striking. Unusually, its case is covered in bright red Moroccan leather, which we have only encountered on a handful of occasions in the past. This clock dates from 1936 and is something of a gem. Just as with Jaeger LeCoultre wristwatches, collectors have been looking for these clocks since the mid-1980s and the majority of those who own them today have no interest in selling. At any one time, we might have five or six in stock, but finding replacements in a condition that meets our standards is not easy. We have dealt in these items for almost thirty years and have probably owned examples of almost all the variants ever made, but they have never lost their allure and we still enjoy examining new arrivals when they appear. There is something extremely appealing about vintage Jaeger LeCoultre clocks from the 1930s.

Why the early music revolution of the 1970s was truly a moment to savour

The early 1970s were full of brilliant young musicians determined to overthrow anachronistic, Romanticised approaches to old music, and do so with panache, says Richard Morrison

With some disbelief, I realise that it’s half a century since I attended my first early-music concert – at the 1972 BBC Proms. It was a thrilling night, because the sounds conjured up by that virtuosic pioneer David Munrow and his Early Music Consort of London were so new, so challenging, so revolutionary. So was the music, even though it had been composed four or five centuries earlier. Who then had heard of Hermann Finck, Jacobus Barbireau or Hans Kotter? Come to think of it, who has heard of them now? Munrow, who died tragically and much too early, had a knack for digging out complete rarities from the Medieval and Renaissance eras and bringing them to life so flamboyantly that you felt as if you had been transported to the Field of the Cloth of Gold itself. He wasn’t alone. The early 1970s were full of brilliant young musicians determined to overthrow anachronistic, Romanticised approaches to old music, and do so with panache. In that same Proms season, John Eliot Gardiner conducted Monteverdi’s Vespers in Westminster Cathedral, and even over the radio the lean, incisive singing and playing sounded as daring as Stockhausen or Birtwistle. Nikolaus Harnoncourt’s provocative recordings of German and French Baroque music horrified some but delighted many more. And when Christopher Hogwood (top image) brought out his legendary recording of Handel’s Messiah a few years later – period instruments, boy trebles, lightning speeds and, most mesmerising of all, Emma Kirkby’s laser-like voice soaring through the soprano solos – it was as if someone had put a bomb under the 200-year-old tradition of performing Handel’s choral works with massive forces. Of course, with hindsight we may feel that the performances created by Hogwood or Harnoncourt said more about late-20th-century sensibilities than about how music actually sounded in the 1700s. That didn’t matter at the time. They were different. They shocked. There are some things that I don’t miss about those early years of the early-music movement. One is the fierce polarity between various camps. It wasn’t just that period-instrument players asserted that theirs was the ‘authentic’ and only true way to perform Baroque music (a claim nobody is foolish enough to make any more). Or that, on the other side, players in symphony orchestras regularly caricatured period-instrumentalists as failed musicians who couldn’t play in tune. There were also bitter rivalries within the early-music movement itself.

It was quite fun for a journalist if a leading scholar-performer spent a whole interview telling you why a rival’s version of (to take one infamous example) Bach’s Mass in B minor was misconceived in every possible way. But I’m not sure it was good for those working in the field if they were constantly made to feel like participants in a latter-day Hundred Years War. It wasn’t until the 1990s or even later that a new, more flexibly minded generation of musicians appeared, enabling symphony orchestras to do passable impressions of ‘historically informed’ performances where required and, on the other side, period-instrument bands to bring back some of the lusher expressive devices ruthlessly ditched by their dogmatic forerunners.

Two things, however, I miss a lot. One is Medieval music. It’s not that nobody performs pre-Renaissance dances or vocal music any more, but Munrow managed to bring it into the mainstream of concert life and attract a big following. Nobody does that now. People pay lip-service to the concept of ‘nine centuries of classical music’, but in reality few groups perform anything before Tallis, and most early-instrument concerts are of 18th-and 19th-century music. In other words, the mainstream repertoire has shrunk back to what it was before period instruments came along. The other thing I miss is the thirst for rediscovery and scholarship that infused so many early-music pioneers. How many of today’s ensemble leaders go back to primary sources – composers’ manuscripts or vivid accounts of social and cultural conditions in earlier centuries – to enrich their understanding of the music? How many are prepared to spend days, maybe months, rooting around in dusty libraries to find music that deserves resuscitation? I don’t deny that the technical standards of today’s musicians are, on the whole, streets ahead of what I heard in the 1970s. But I miss today the feeling of new worlds being revealed and old preconceptions challenged. I don’t think that’s just nostalgia talking.

Top 10 Non Disney Family movies pre 1980's

So back in the day,family movies were kind of a rarity.......Unless you were Disney ,Disney DOMINATED this subgenre .But there were a few good family movies not made by the house of mouse

For this list I have a few rules

1.I am cutting it off at 1979,as after that family films became more common

2.No TV movies ,as much as I love 1965's Rodgers and Hammersteins Cinderella and Rankin/Bass's Hobbit ,I am limiting it to theatrical features

3.Obvious one but no Disney

4.I personally didnt include Star Wars or Superman The Movie, cause I wanted to showcase some other movies

Onto the list

10.Treasure Island (!934)

My favorite straight adaptation of Treasure Island,the classic tale of a young boy who finds himself thrust into a great adventure ,with a lovable rogue in the form of Wallace Beery as Long John Silver and fun performances by Lionel Barrymore and Nigel Bruce

9.Charlottes Web (1971)

A personal childhood classic for me ,the story of the friendship between a spider and a pig is heartwarming ,with good voice performances by Debbie Reynolds,Henry Gibson and Paul Lynde.Not higher cause I just havent watched it in a while

8.Scrooge (1970)

A musical retelling of the tale of A Christmas Carol . My personal favorite Christmas Carol and this one has some nice creepy moments and catchy songs

7.Jason and the Argonauts (1963)

Basically representative for most of Ray Harryhausens fantasy films.A sense of adventure with cool monsters and set pieces

6.Lassie Come Home (!943)

A story about a dog trying to make her way home ,a very episodic,very chill film with some scenes of peril .The draw of the film for kids would be Lassie herself who is one of the best movie dogs ever

5.Thief of Baghdad (1940)

A fantasy adventure with stunning setpieces like a mechanical person with multiple arms,giant spiders,a bombastic Genie ,a magic carpet,a flying horse , a very intimidating villain to root against and a really cool kid hero who I imagine was awesome to many kids , a young thief who proves himself a true hero,and how anyone can be

4.The Adventures of Robin Hood (!938)

Yeah there is slight political stuff ,but a kid can follow it as the story is simple: The Prince and his crew are bullies,while Robin is fighting for the little guy .Its colorful ,it has exciting action ,there are fun characters like the Friar , the bad guys are hatable and the hero is awesome

3.Muppet Movie (1979)

The cameos will go over the heads of youngsters ,but its a fun musical road trip about puppets trying to go to Hollywood and along the way becoming a family

2.Willy Wonka and the Choclate Factory

Yeah with these top two I am not surprising anyone .It s a wonderful premise about a magical candy factory,with a wondeful performance by Gene Wilder ,memorable songs and a good message I feel

1.Wizard of OZ

....I mean....Do I have to explain.Its gorgeous,lovely characters ,good songs ,its one of the few old movies a lot of people still watch .Its a universal story

What are some of your favorite pre 70's Non Disney family films?

@ariel-seagull-wings @metropolitan-mutant-of-ark @filmcityworld1 @amalthea9 @princesssarisa @the-blue-fairie @lord-antihero @marquisedemasque

How All in the Family Changed the TV Landscape

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All in the Family is roundly considered a touchstone for television achievement now, but when it debuted 50 years ago, even the network carrying it hoped it would fizzle quickly and unnoticed. CBS put an army of operators at phone lines expecting a barrage of complaints from offended middle Americans demanding its cancellation. Those calls didn’t come. What came was a deluge of support from people hoping this mid-season replacement was a permanent addition to the network’s lineup. The premiere episode contained a considerable list of “television firsts.” One of these rarities continues to remain scarce on network TV: creator Norman Lear trusted the intelligence of the viewing audience. To celebrate All in the Family’s 50th anniversary, we look back at its journey from conception to broadcast, and how it continues to influence and inform entertainment and society today.

Actor Carroll O’Connor, who was a large part of the creative process of the series, consistently maintains he took the now-iconic role of Archie Bunker because All in the Family was a satire, not a sitcom. It was funny, but it wasn’t a lampoon. It was grounded in the most serious of realities, more than the generation gap which it openly showcased, but in the schism between progressive and conservative thinking. The divide goes beyond party, and is not delineated by age, wealth, or even class. The Bunkers were working class. The middle-aged bigot chomping on the cigar was played by an outspoken liberal who took the art of acting very seriously. The audience cared deeply, and laughed loudly, because they were never pandered to. They were as respected as the authenticity of the series characters’ parodies.

Even the laughs were genuine. All in the Family was the first major American series to be videotaped in front of a live audience. There was never a canned laugh added, even in the last season when reactions were captured by an audience viewing pre-taped episodes. Up to this time, sitcoms were taped without audiences in single-camera format and the laugh track was added later. Mary Tyler Moore shot live on film, but videotape helped give All in the Family the look of early live television, like the original live broadcasts of The Honeymooners. Lear wanted to shoot the series in black and white, the same as the British series, Till Death Us Do Part, it was based on. He settled for keeping the soundstage neutral, implying the sepia tones of an old family photograph album. The Astoria, Queens, row house living room was supposed to look comfortable but worn, old-fashioned and retrograde, mirroring Archie’s attitudes: A displaced white hourly wage earner left behind by the social upheavals of the 1960s and 1970s.

“I think they invented good weather around 1940.”

American sitcoms began shortly after World War II, and primarily focused on the upper-middle class white families of Father Knows Best, Leave It to Beaver, and The Adventures of Ozzie and Harriet. I Love Lucy’s Ricky Ricardo, played by Cuban-American Desi Arnaz, ran a successful nightclub. The Honeymooners was a standout because Jackie Gleason’s Ralph Kramden was a bus driver from Bensonhurst (the actual address on that show, 328 Chauncey Street, is in the Bedford–Stuyvesant section of Brooklyn). American TV had little use for the working class until the 1970s. They’d only paid frightened lip service to the fights for civil rights and the women’s liberation movements, and when the postwar economy had to be divided to meet with more equalized opportunities there was no one to break it down in easy terms. The charitable and likable Flying Nun didn’t have the answer hidden under her cornette. It wasn’t even on the docket in Nancy, a 1970 sitcom about a first daughter. The first working family on TV competing in the new job market was the Bunkers, and they had something to say about the new competition.

Social commentary wasn’t new on television. Shows like The Twilight Zone and Star Trek routinely explored contemporary issues, including racism, corporate greed, and the military action in Vietnam, through the lens of fantasy and science fiction. The war and other unrest were coming into the people’s living rooms every night on the evening news. The times they were a-changing, but television answered to sponsors who feared offending consumers. 

Ah, but British TV, that’s where the action was. Lear read about a show called Till Death Us Do Part, a BBC1 television sitcom that aired from 1965 to 1975. Created by Johnny Speight, the show set its sights on a working-class East End family, spoofing the relationship between reactionary white head of the house Alf Garnett (Warren Mitchell), his wife Else (Dandy Nichols), daughter Rita (Una Stubbs), and her husband Mike Rawlins (Anthony Booth), a socialist from Liverpool. Lear recognized the relationship he had with his own father between the lines.

CBS wanted to buy the rights to the British show as a star vehicle for Gleason, Lear beat out CBS for the rights and personalized it. One of the reasons All in the Family works so well is because Lear wasn’t just putting a representative American family on the screen, he was putting his own family up there.

“If It’s Too Hot in The Kitchen, Stay Away from The Cook.”

Archie Bunker dubbed his son-in-law, Michael Stivic, played by Rob Reiner, a “Meathead, dead from the neck up.” This was the same dubious endearment Lear’s father Herman called him. The same man who routinely commanded Lear’s mother to “stifle herself.” Lear’s mother accused her husband, a “rascal” who was sent to jail for selling fake bonds of being “the laziest white man I ever saw,” according to his memoir Even This I Get to Experience  All three lines made it into all three of the pilots taped for All In the Family. When Lear’s father got out of prison after a three-year stretch, the young budding writer sat through constant, heated, family discussions. “I used to sit at the kitchen table and I would score their arguments,” Lear remembers in his memoir. “I would give her points for this, him points for that, as a way of coping with it.”

All in the Family, season 1, episode 1, provides an almost greatest hits package of these terse and tense exchanges, which also taught Lear not to back away from the fray. He served as a radio operator and gunner in the U.S. Air Force during World War II, earning an Air Medal with four Oak Leaf Clusters after flying 52 combat missions, and being among the crew members featured in the books Crew Umbriag and 772nd Bomb Squadron: The Men, The Memories. Lear partnered with Ed Simmons to write sketches for Jerry Lewis and Dean Martin’s first five appearances on the Colgate Comedy Hour in 1950. They remained as the head writers for three years. They also wrote for The Ford Star Revue, The George Gobel Show, and the comedy team Rowan and Martin, who would later headline Laugh-In.

Lear went solo to write opening monologues for The Tennessee Ernie Ford Show, and produce NBC’s sitcom The Martha Raye Show, before creating his first series in 1959, the western The Deputy, which starred Henry Fonda. To get Frank Sinatra to read Lear’s screenplay for the 1963 film Come Blow Your Horn, Lear went on a protracted aerial assault. Over the course of weeks, he had the script delivered while planes with banners flew over Sinatra’s home, or accompanied by a toy brass band or a gaggle of hens. Lear even assembled a “reading den” in Ol’ Blue Eyes’ driveway, complete with smoking jacket, an ashtray and a pipe, an easy chair, ottoman, lamp, and the Jackie Gleason Music to Read By album playing on a portable phonograph. After weeks of missed opportunities, Lear remembers Sinatra finally read the script and “bawled the shit out of me for not getting it to him sooner.”

The creative perseverance Lear showed just to get the right person for the right part is indicative of the lengths Lear would go for creative excellence. He would continue to fight for artistic integrity, transforming prime time comedy with shows like Good Times, One Day at a Time, and the first late-night soap opera Mary Hartman, Mary Hartman. He brought legendary blue comedian Redd Foxx into homes with Sanford and Son, also based on a British sitcom, Steptoe and Son, which starred Harry H. Corbett and Wilfrid Brambell, best known for playing Paul McCartney’s grand-dad in A Hard Day’s Night. But before he could do these, and the successful and progressive All in the Family spinoffs The Jeffersons and Maude, he had to face battles, big and small, over the reluctantly changing face of television.

“Patience is a Virgin”

After Lear beat CBS to the rights to adapt Till Death Us Do Part he offered the show to ABC. When it was being developed for the television studio, the family in the original pilot were named the Justices, and the series was titled “Justice for All,” according to a 1991 “All in the Family 20th Anniversary Special.” They considered future Happy Days dad Tom Bosley, and acclaimed character actor Jack Warden for the lead part, before offering the role to Mickey Rooney. According to Even This I Get to Experience, Lear’s pitch to the veteran actor got to the words “You play a bigot” before Rooney stopped him. “Norm, they’re going to kill you, shoot you dead in the streets,” the Hollywood icon warned, asking if Lear might have a series about a blind detective with a big dog somewhere in the works.

Taped in New York on Sept. 3, 1968, the first pilot starred O’Connor and Jean Stapleton as Archie and Edith Justice. Stapleton, a stage-trained character actor who first worked as a stock player in 1941, was a consistent supporting player for playwright Horton Foote. Stapleton originated the role of Mrs. Strakosh in the 1964 Broadway production of Funny Girl, which starred Barbra Streisand. Lear considered her after seeing her performance in Damn Yankees. She’d made guest appearances on TV series like Dr. Kildare and The Defenders.

O’Connor was born in Manhattan but grew up in Queens, the same borough as the Bunker household with the external living room window which wasn’t visible from the interior. O’Connor acted steadily in theaters in Dublin, Ireland, and New York until director Burgess Meredith, assisted by The Addams Family’s John Astin, cast him in the Broadway adaptation of James Joyce’s novel Ulysses. O’Connor had roles in major motion pictures, including Lonely Are the Brave (1962), Cleopatra (1963), Point Blank (1967), The Devil’s Brigade (1968), Death of a Gunfighter (1969), Marlowe (1969), and Kelly’s Heroes (1970).  O’Connor appeared on television series like Gunsmoke, Bonanza, The Fugitive, The Wild Wild West, The Outer Limits, The Man from U.N.C.L.E., I Spy, That Girl, and Voyage to the Bottom of the Sea. He’d guest starred as a villain in a season 1 episode of Mission Impossible, and was up for the parts the Skipper on Gilligan’s Island and Dr. Smith on Lost in Space.

The first pilot also starred Kelly Jean Peters as Gloria and Tim McIntire as her husband Richard. ABC liked it enough to fund a second pilot, “Those Were the Days,” which shot in Los Angeles on Feb. 10, 1969. Richard was played by Chip Oliver, and Gloria Justice was played by Candice Azzara, who would go on to play Rodney Dangerfield’s wife in Easy Money, and make numerous, memorable guest appearances on Barney Miller. D’Urville Martin played Lionel Jefferson in both pilots. ABC cancelled it after one episode, worried about a show with a foul-mouthed, bigoted character as the lead.

CBS, which was trying to veer away from rural shows like Mayberry R.F.D., The Beverly Hillbillies, Petticoat Junction and Green Acres, bought the rights to the urban comedy and renamed it All in the Family. When Gleason’s contract to CBS ran out, Lear was allowed to keep O’Connor on as the main character.

Sally Struthers was one of the young actors featured in Five Easy Pieces, the 1970 counterculture classic starring Jack Nicholson. She’d also recently finished shooting a memorable part in the 1972 Steve McQueen hit The Getaway. Struthers had just been fired from The Tim Conway Comedy Hour because executives thought she made the show look cheap, which was her job. The premise of the show was it was so low-budget it could only afford one musician, who had to hum the theme song because they couldn’t afford an instrument, and one dancer, as opposed to a line of dancers like they had on The Jackie Gleason Show. Lear noticed her as a dancer on The Smothers Brothers Comedy Hour, a counterculture variety show which Rob Reiner wrote for with Steve Martin as a writing partner. Reiner’s then-fiancée, the director Penny Marshall, was also up for the role of Gloria, but in an interview for The Television Academy, Reiner recalls that, while Marshall could pass as Stapleton’s daughter, Struthers was obviously the one who looked like Archie’s “little girl.”

Reiner, the son of comedy legend Carl Reiner, was discovered in a guest acting role on the Andy Griffith vehicle series Headmaster, a show he wrote for, but had also played bit roles in Batman, The Andy Griffith Show, Room 222, Gomer Pyle, U.S.M.C., The Beverly Hillbillies and The Odd Couple. Reportedly, Richard Dreyfuss campaigned for the role of Michael, and Harrison Ford turned it down. Mike Evans was cast as Lionel Jefferson, the Bunkers’ young Black next-door neighbor who sugar-coated nonviolent protests with subtle and subversive twists on “giving people what they want.”

“We’re just sweeping dirty dishes under the rug.”

The very first episode tackled multiple issues right away. It discussed atheism, with Michael and Gloria explaining they have found no evidence of god. The family dissects affirmative action, with Archie asserting everyone has an equal chance to advance if they “hustle for it like I done.” He says he didn’t have millions of people marching for him to get his job, like Black Americans. “His uncle got it for him,” Edith explains, with an off-the-cuff delivery exemplifying why Stapleton is one of the all-time great comic character actors. The family argues socialism, anti-Semitism, sausage links and sausage patties. The generation gap widens as Archie wonders why men’s hair is now down to there, while Gloria’s skirt got so high “all the mystery disappears” when she sits down.

All in the Family would continue to deal with taboo topics like the gay rights movement, divorce, breast cancer, and rape. Future episodes would question why presidential campaign funds are unequal, how tax breaks for corporations kill the middle class, and weigh the personal price of serving in an unpopular war as opposed to dodging the draft. When Archie goes to a female doctor for emergency surgery a few seasons in, All in the Family points out she is most certainly paid less than a male doctor. When skyjackings were a persistent domestic threat in the 1970s, Archie suggested airlines should “arm the passengers.” It is very prescient of the NRA’s suggestion of arming teachers to combat school shootings.

But the first showdown between Lear and the network was fought for the sexual revolution. The first episode’s action begins when Edith and Archie come home early from church and interrupt Michael and Gloria as they’re about to take advantage of having the house to themselves. Gloria’s got her legs wrapped around Michael as he is walking them toward the stairs, and the bed. “At 11:10 on a Sunday,” Archie wants to know as he makes himself known. According to Lear’s memoir, CBS President William Paley objected, saying the line suggested sex. “And the network wants that out even though they’re married–I mean, it was plain silly,” he writes. “My script could have lived without the line, but somehow I understood that if I give on that moment, I’m going to give on silly things forever. So, I had to have that showdown.”

The standoff continued until 25 minutes before air time. CBS broadcast the episode, but put a disclaimer before the opening credits rolled, which Reiner later described as saying “Nothing you’re about to see has anything that we want to have anything to do with. As far as we’re concerned, if you don’t watch the next half hour, it’s okay with us.” Lear knew, with what he was doing, this was going to be the first of many battles, because this was the first show of its kind. Television families didn’t even flush toilets, much less bring unmentionables to the table. “The biggest problem a family might face would have been that the roast was ruined when the boss was coming over to dinner,” Lear writes. “There were no women or their problems in American life on television. There were no health issues. There were no abortions. There were no economic problems. The worst thing that could happen was the roast would be ruined. I realized that was a giant statement — that we weren’t making any statements.”

“What I say ain’t got nothing to do with what I think.”

Politicians and pundits worried about how the series might affect racial relations. The country had experienced inner city riots, battle lines were drawn over school desegregation, busing children to schools was met with violent resistance. Did All In the Family undermine bigotry or reinforce racism? Were people laughing at Archie or with him? Was it okay to like Archie more than Mike?

Lear believed humor would be cathartic, eroding bigotry. Bigots found a relief valve. Lear always insisted Archie was a satirically exaggerated parody to make racism and sexism look foolish. Liberals protested the character came across as a “loveable bigot,” because satire only works if the audience is in on the joke. Bigoted viewers didn’t see the show as satire. They identified with Archie and saw nothing wrong with ethnic slurs. Mike and Gloria come off like preachy, bleeding-heart liberal, hippie leeches. Lionel handled Archie better than Michael did.

O’Connor humanized Archie as an old-fashioned guy trying to make sense of a rapidly changing world. Bunker gave bigotry a human face and, because he hated everyone, he was written off as an “equal-opportunity bigot.” Not quite a defensible title. Archie was the most liked character on the show, and the most disliked. Most people saw him as a likable loser, so identifiable he was able to change attitudes. In a 1972 interview, O’Connor explained white fans would “tell me, ‘Archie was my father; Archie was my uncle.’ It is always was, was, was. It’s not now. I have an impression that most white people are, in some halting way, trying to reach out, or they’re thinking about it.” It sometimes worked against O’Connor the activist, however. When he backed New York Mayor John Lindsay’s 1972 anti-war nomination for the Democratic presidential nomination, Archie Bunker’s shadow distanced progressives.

Archie was relatable beyond his bigotry. He spoke to the anxieties of working- and middle-class families. Archie was a dock worker in the Corona section of Queens, who had to drive a cab as a second job, with little hope of upward mobility. He didn’t get political correctness. The character’s ideological quips were transformed into the bestselling paperback mock manifesto The Wit and Wisdom of Archie Bunker. White conservative viewers bought “Archie for President” buttons. 

“If you call me Cute one more time, I swear I’ll open a vein.”

As cannot be overstated, All in the Family set many precedents, both socially and artistically. The Bunker family is an icon on many levels, Archie and Edith’s chairs are at the Smithsonian. But Archie Bunker is also the Mother Courage of TV. The antithesis of the bland sitcom characters of the time, he also wasn’t the character we hated to love, or loved to hate. Archie was the first character we weren’t supposed to like, but couldn’t help it. This phenomenon continues. The next TV character to take on the iconic mantle was probably Louis De Palma on Taxi. Audiences should have wanted to take a lug wrench to his head, but Danny De Vito brought such a diverse range of rage and vulnerability to that part it was named TV Guide’s most beloved character for years.

We shouldn’t like Walter White, especially when he doffs that pretentious Heisenberg hat, on Breaking Bad. And let’s face it, Slipping Jimmy on Better Call Saul isn’t really the kind of guy you want to leave alone in your living room while you grab a drink. Families across the United States and abroad sat down to an Italian-style family dinner with Tony Soprano and The Sopranos every Sunday night. But on Monday mornings, most of us would have ducked him, especially if we owed him money. Even the advanced model of the Terminator guy was scared of Tony.

The best example of this is South Park’s Eric Cartman. While we don’t know who his father is on the series, he’s got Bunker DNA all over him. He’s even gotten into squabbles with Sally Struthers and Rob Reiner. This wasn’t lost on Lear, who contacted creators Trey Parker and Matt Stone to say he loved the show in 2003. Lear wound up writing for South Park’s seventh season. “They invited me to a party and we’re partying,” Lear told USA Today at the time. “There’s no way to overstate the kick of being welcomed by this group.”

“I hate entertainment. Entertainment is a thing of the past, now we got television.”

Television can educate as much as it wants to entertain, and All in the Family taught the viewing audience a whole new vocabulary. The casual epithets thrown on the show were unheard of in broadcast programming, no matter how commonplace they might have been in the homes of the people watching. When Sammy Davis Jr. comes to Bunker house in the first season, every ethnic and racial slur ever thrown is exchanged. In another first season episode, and both the unaired pilots, Archie breaks down the curse word “Goddamn.” But a large segment of the more socially conservative, and religious, audience thought All in the Family said whatever they wanted just because they could get away with it.

All in the Family debuted to low viewership, but rose to be ranked number one in the Nielsen ratings for five years. The show undermined the perception of the homogeneous middle-class demographic allowing shows like M*A*S*H to comment on contemporary events.

All in the Family represented the changing American neighborhood. The show opened the door for the working poor to join situation comedies as much as when the Bunkers welcomed Lionel, Louise (Isabel Sanford), and George Jefferson (Sherman Hemsley) when they moved into Archie’s neighborhood. Lear reportedly was challenged by the Black Panther Party to expand the range of black characters on his shows. He took the challenge seriously and added subversive humor. Sanford and Son was set in a junkyard in Watts. Foxx’s Fred Sanford rebelled against the middle-class aspirations of his son, Lamont (Demond Wilson). Good Times was set in the projects of Chicago, and took on issues like street gangs, evictions and poor public schools.

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Married With Children, The Simpsons, and King of the Hill continued to explore the comic possibilities of working class drama. Mary Richards on The Mary Tyler Moore Show was a successful, upwardly mobile television producer. Working-class women were represented on sitcoms like Alice, but didn’t have a central voice until 1988 when Roseanne debuted on ABC, and Roseanne Barr ushered in her brand of proletarian feminism. All in the Family’s legacy includes Black-ish, as creator Kenya Barris continues to mine serious and controversial subject matter for cathartic and educational laughter. Tim Allen covets the conservative crown, and is currently the Last Man Standing in for Archie. But as reality gets more exaggerated than any satire can capture, All in the Family remains and retains its most authentic achievement.

The post How All in the Family Changed the TV Landscape appeared first on Den of Geek.

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Have you watched all the “must-watch” picks and want to see more? Want to have more fun watching his stuff? This list is what I’d consider good or fun to watch, but not great. The catch is, either I only like certain aspects of the film/episode or I don’t think it’d be everyone’s cup of tea.

List below cut:

Home Sweet Homicide: the other comedy Stockwell did as a child. It’s pretty fun to watch, but the humor is way more in the dialogue and doesn’t have a mix of physical comedy like The Happy Years does. 

Deep Waters: I think the shots of Maine in this film are gorgeous. Also, Stockwell played quite a few orphans or misfit children as a child, and this is one such role. And as usual for many films from his childhood, the focus is more on the grownups than on his character.

Cattle Drive: Stockwell plays a little shit in this movie, and it’s great. He’s this spoiled rich kid who accidentally spends too much time away from the train, and ends up traveling with a bunch of cowboys for a while, learning not to be so spoiled along the way. I’ve seen it described as a Western version of Captains Courageous- it’s a shallow plot, but it’s fun.

Any of his Wagon Train episodes: Stockwell delivers some pretty good performances in all four of them, including a pre-Compulsion episode which is impressive. In particular, look for “The Will Santee Story,” since that’s the only thing he starred in with his then-wife, Millie Perkins, and I think that’s the best of the four.

Sons and Lovers: Stockwell loves D. H. Lawrence and was willing to be paid less than usual since he also loved the book this movie was based on. Also, for fun, you can see him play another Oedipal role pre-Battlestar Galactica.

Alfred Hitchcock Presents “The Landlady”: Glasses! Stockwell almost never wore them in roles when he was young, so this is a rare treat. I also like the Roald Dahl short story this was based on.

Dick Powell Show “The Geetas Box”: This was a pretty silly episode (sure, knock out the vault guys just to steal their truck and break in), but it’s a fun one to watch.

The Twilight Zone "A Quality of Mercy": Stockwell is fine in this. Let’s get that out of the way. What’s not fine is the yellowface part. Controversy addressed, it’s also interesting to see him sort of Quantum Leap long before playing Al.

Burke's Law (1960s) "Who Killed Lenore Wingfield?" Stockwell is only in a few scenes, but he’s playing a comedic role- a pre-1980s rarity, even if his character’s an idiot. This one is harder to find, unfortunately.

Rapture: Do you want to see a young Dean Stockwell soaking wet and vulnerable in the rain? Do you want to see him looking extremely pretty? Are you willing to overlook that he’s befriending and romancing a teenage girl even though he’s in his late 20s? Then you should go watch this!

The Dunwich Horror (1970): This movie is terrible, but I love it for Stockwell’s performance. Being a Lovecraft fanboy, he went all out for his performance. He had an artist friend paint on him, taking four hours, for one scene and copied some occult gestures from another friend, just for this movie. Beware: do not, I repeat, DO NOT watch the 2009 version. I regretted it.

The Werewolf of Washington: Another “bad movie, good Dean Stockwell.” The director had no idea what he was doing, but Stockwell dedicated himself to his role and it absolutely shows. 

Tracks: I group this, Human Highway and Crash together as “the plot is meh-to-weird, but you get to see Dean Stockwell hanging out with his friends, and it’s really different and/or something else compared to anything else he’s been in.” Well, Crash isn’t that different, but Tracks is still the best thing he’s been in with his best friend Dennis Hopper, other than Blue Velvet.

Greatest Heroes of the Bible "Daniel in the Lions' Den": I’m not going to lie. I love this for Stockwell’s costume, and the extra glittery black costume alone. That is all. (Plus he gets fed to a lion!)

Banzai Runner: Stockwell plays a rare leading man role, and he’s great as the cop who chases down banzai runners drag-racing down the highway (which was apparently a legit issue in early 1980s California).

Nowhere Man "You Really Got a Hold on Me": Stockwell basically takes over the episode. His character is a more cynical version of Al, but he’s great to watch.

Max Rose: Stockwell’s character is hinted at throughout the movie, and he has one scene towards the end that he’s really good in. Otherwise, the movie overall isn’t as good.

If you’ve seen and liked “Annabel” and/or “The Programming of Charlie Blake,” here’s more disturbed roles Stockwell was good in:

Johnny Staccato “Nature of the Night”

Checkmate “The Cyanide Touch”: Stockwell seems more on the edge of disturbed in this one, but it’s still fun.

Paper Man: It’s a computer-centric science fiction horror movie. Not bad for 1971!

The F.B.I. "End of a Nightmare": Stockwell’s character is a little silly in the beginning, but he’s great at the end. 

The Twilight Zone "Room 2426"

Stargate SG-1 "Shadow Play"

Sixty fun & fascinating facts about the classic Supergirl (3 / 4)

Welcome to the third part of this series presenting sixty fascinating facts to celebrate the sixty years since the debut of the classic Supergirl in DC Comics. Ahead are another fun-filled fifteen snippets of trivia about the original intrepid Argo City teen who leapt from that crumpled Midvale rocket ship. Covering her original Silver and Bronze Age incarnation, in comics and on screen, each factoid is calculated to intrigue and delight – hopefully even seasoned Kara fans will find a few morsels of trivia that had previously escaped their attention.

Enjoy...

31. You can actually visit, in real life, the building where she once lived.

While Superman has rarely strayed beyond his fictional base of Metropolis, Supergirl’s adventures have seen her relocate far-and-wide many times. Some of her homes have been fictional, like Midvale and Stanhope, while others have been real-life, like San Francisco and Chicago. But shockingly, not only has the Girl of Steel lived in real locations, but she has even inhabited real addresses.

A panel in Daring New Adventures of Supergirl #4 (Feb 1983) exposes Linda Danvers’ home address as 1537 West Fargo Ave, Chicago – surprisingly, this turns out to be a genuine address. A later issue, #7 (May 1983), reveals that Linda’s apartment number is 12A. The building that’s currently at that location doesn’t correspond with the one drawn by Carmine Infantino, but if you happen to be passing you might want to check if one of the occupants is listed a “Ms. L. Danvers”.

32. The first theatrically released Supergirl movie was in 1973, not 1984.

As outlined in factoid #2 there was an abundant supply of superheroine movies in non-English speaking markets before Helen Slater’s Supergirl. Indeed so incredibly popular are superpowered females in some corners of the globe that, amazingly, there was even an unofficial Girl or Steel movie over a decade before the authorised Salkind-produced one. The film in question starred Pinky Montilla in the main role and was entitled simply Supergirl. Released on 23rd September 1973 into the Filipino market, the movie featured the Maid of Might’s early 70s costume but changed her origin story. Pinky would also play Bat Girl in 1973′s Fight! Batman, Fight! – and we can assume that the producers probably didn’t ask DC for permission to use the Dominoed Daredoll either.

33. She hated her time in Midvale Orphanage.

The Silver Age always presented Kara’s adventures with a naive sense of wonder and amazement; rarely did it seriously address the pain she must have felt at leaving her parents behind to die in Argo City. But comics changed a lot in the two decades after Kara was introduced, and by the time Supergirl’s origin was retold in Daring New Adventures of Supergirl #1(Nov 1982) a very different spin was put on things. As Kara travels to begin a new life in Chicago, she reflects back on her tragic beginnings as a superhero, including the painful loss of her parents and her feelings of starting over in Midvale: “I was a real stranger in a very strange land! With nowhere else to go, Superman had no choice but to place me in Midvale Orphanage under the name Linda Lee.”, she recalls, before concluding solemnly, “I hated it!”

34. She was a reluctant hero, often feeling out of place on Earth.

One theme that reoccurred during the Bronze Age adventures of Supergirl is how Kara felt at odds with her career as a superhero, and out-of-place on Earth. A story in Superman Family #168 (Dec 1974) demonstrates this more than most, as it brings together three troubled women with extraordinary powers. Supergirl joins her friend Lena Luthor (who has ESP) in an attempt to help Jan Thurston (who has telepathy) come to terms with her unusual powers.

After rescuing a suicidal Jan, Supergirl wins her trust by recounting her own sad journey from Argo City to Earth, explaining that at first she enjoyed the novelty of her superpowers, but quickly came to see them as a barrier. “I’m the mightiest girl on Earth -- and the loneliest!”, she laments, “There’s not a guy on the planet who can keep up with me... Not a single girl can get close enough to be my friend! Sometimes I think I’d much rather have stayed on Argo City!” But Kara goes on to outline how she overcame those feelings: “People like us aren’t different!”, she explains, “We’re just... special!”

35. She planned to start a family, until Kal-El intervened.

In the Bronze Age, DC writers clearly felt free to explore introspective ideas with Kara that likely weren’t possible with her famous cousin. One short story, tucked in the back of Superman Vol. 1 #282 (Dec 1974), demonstrated this more than any other. Kal-El travels to Florida, Kara’s then home, to confront her about suggestions that she may give up her superhero career. “This life of a super-heroine takes up too much of my time... Sets me apart from everyone else!”, she explains. “I want an ordinary life -- with a husband and children some day... Free to do what I choose!”

Naturally her straight-laced cousin isn’t too keen on this idea. He spins Kara a yarn from ancient Krypton folklore, the moral of the story being that she should be careful what she wishes for. “So you see, Kara”, he explains, “sometimes, when we get the things we think we want most... they turn out to be a curse rather than a blessing!” In light of this, Kara reconsiders her plans.

36. Wonder Woman designed one of her costumes.

As most fans know one of the few weaknesses the Man and Girl or Steel share is a vulnerability to magic; so when Adventure Comics #397 (Sep 1970) saw Kara go up against a powerful black magic cult, it was perhaps no surprised to find her badly beaten and her costume shredded. Luckily Wonder Woman was in her mod Emma Peel phase at the time, posing (in-between bouts of super heroics) as the owner of a fashion boutique. Reaching into the racks of clothes at her shop, Diana produces a completely redesigned Supergirl outfit befitting the fashions of the period, which Kara eagerly adopts. (Readers were left wondering whether Diana had redesigns of other hero costumes at the ready, or was Supergirl a special case?)

37. Her mom(s) designed two of her costumes.

Every Supergirl fan knows that Kara’s original costume was designed by her mother, Alura, so that the teenager would be recognised immediately by the Man of Steel when she arrived on Earth. But few may remember that her mid-80s costume, the headband affair she wore going into Crisis on Infinite Earths, was also designed by her mother -- her other mother. Kara’s 80s costume was design by Edna Danvers, her adopted mother on Earth, who (it seemed) was in the habit of whiling away the long dark evenings in Midvale by sketching possible costume designs for her superhero daughter.

38. She’s a fan of recycling her clothes.

The Maid of Might has had many costumes over the years -- or rather, she’s had one costume that she’s recycled over and over since the early 70s. In Adventure Comics #407 (June 1971) a new invulnerable costume was given to Kara by the folks in the Bottle City of Kandor after her original Argo City outfit had been destroyed some months before. A dedicated follower of fashion, over the coming months Kara went through a succession of wild and wacky outfits, some lasting only one issue, before finally settling on her famous hot pants attire for the majority of the 1970s. One might have assumed that somewhere in the Fortress of Solitude there was a wardrobe packed full of retired red and blue super-duds, but Supergirl Vol. 2 #13 (Nov 1983) revealed Kara’s secret -- when it comes time to upgrade her outfit, Kara unravels her old costume at super-speed and and re-weaves the resulting ball of thread into the new design.

39. Demi Moore was the director’s first choice to play Lucy Lane in the Supergirl movie.

The casting net for the title role in 1984′s Supergirl was spread far-and-wide. Director Jeannot Szwarc asked casting agent Lynn Stalmaster to search the whole globe for candidates who could not only act, but withstand the physically and mentally pressure of training for the demanding stunts and wire work. One candidate, apparently, was Demi Moore, who didn’t get the Girl of Steel role but was considered perfect for Kara’s best friend, Lucy Lane. Director Jeannot Szwarc recalled in a 1999 interview, “I met tons of girls. I remember one of the girls was Demi Moore. She was very young and had a great voice. I wanted to use her for the room mate.” But it seems fate had other plans for Ms Moore, as Szwarc explained, “She would have been [perfect], but she was going to Brazil to do a movie with Michael Caine.“ (Moore played Caine’s daughter in Stanley Donen’s rom-com, Blame It on Rio.)

40. One of her rarest appearances is from 1981, only a couple of pages long, but sells for $75+.

If there was a competition to find the rarest publication with an original Supergirl story, Danger on Parade / Le Danger Guette would surely be hot favourite for top place. This tiny comic, just eighteen panels long, was given away inside packets of breakfast cereals in Canada. It features an abbreviated adventure pitting Supergirl against Winslow Schott, aka the Toyman, in the pair’s only pre-Crisis encounter. Runner-up in the rarity stakes would likely go to the Super A and Super B booklet sets produced by Warner Books in 1977 for use in classrooms. The sets didn’t feature original stories however, but reprints with simplified speech balloons designed to teach reading skills.

41. She first met Kal-El years before she landed on Earth.

Gimmick story lines were the order of the day for Silver Age DC, and what better way to create an attention-grabbing dime-baiting cover than to arrange a bizarre crossover -- such was the case with Action Comics #358 (Jan 1968), which saw a very youthful Kara Zor-El in Argo City meet Superboy. The story is predictable fare: in deep space Superboy is scooped-up by one of Zor-El’s science probes, which brings him back to Argo City. Naturally Kara is the first one to discover the probe’s accidental passenger, and (naturally!) Kal-El has suffered memory loss that blots out his life on Earth. Kal and Kara become firm friends over the coming days, until (naturally!) the plot contrives to wipe her memory of him, and restore his memory of Earth.

42. Lena Luthor was the only friend who knew her secret identity.

In the 2015 Supergirl tv show, famously, everyone seems to know (or have known at some point) Supergirl’s secret identity... except Lena Luthor. Bronze Age DC Comics, however, were very very different: Lena first met Kara in Action Comics #295 (Dec 1962), using the name Lena Thorul to hide her connections to brother Lex. Instantly she became firm friends with both Supergirl and Linda Danvers, requiring Kara to work extra hard to stop Lena from realising they are one in the same. The deception finally ended in Superman Family #211 (Oct 1981) when Lena confessed to Kara that she’d worked out her dual identity. This made Lena the only ever friend of Linda Danvers who shared her secret. Sadly it didn’t last long, as by Superman Family #214 (Jan 1982) Lena had suffered a cerebral hemorrhage which affected her memory.

43. She didn’t put the “Kara” into Karaoke.

Over the years Supergirl has exhibited some remarkable super skills, including super ventriloquism, incredible memory, and even the ability to read minds, but one skill that she seemingly lacks is any kind of musical aptitude. Despite the modern day tv Supergirl claiming to put the Kara into Karaoke, her comic strip counterpart didn’t ever appear to sing (not even in the shower!) What’s more, as she confesses in the pages of Adventure Comics #409 (Aug 1971), she doesn’t play any musical instruments either.

44. She’s was no stranger to tragedy even before she left Argo City.

Very few Silver or Bronze Age stories dealt with Kara’s life in Argo City, but one story that gave some idea of how she filled her time appeared in the pages of Action Comics #371 (Jan 1969), when a very young Kara is shown witnessing the cruel death of her best friend, Morina. The pair are innocently playing the game Zoomron, involving the throwing a Frisbee-like disc (the Zoomron) at a target. Chasing an erratic disc Morina tumbles into a crevice filled with Kryptonite, and a tearful Kara can only stand and watch as her friend succumbed to the deadly rays.

45. The Supergirl movie was almost entirely filmed in the UK.

Most fans know that Superman I and II owe a lot to Pinewood Studios in Buckinghamshire, northwest of London, so it is no surprise that 1984′s Supergirl returned to use the same studio complex. But while Superman complimented its studio shots with exteriors filmed in New York (Metropolis) and Alberta, Canada (Smallville), Supergirl’s production stayed firmly within the UK. Locations included the banks of Loch Moidart on the west coast of highland Scotland, the Royal Masonic School for Girls in Hertfordshire, and Black Park Lake near the Pinewood soundstage in Buckinghamshire. Shockingly, even downtown Midvale was actually a huge sprawl of street facades constructed as a backlot set at Pinewood -- the 22 days it took to shoot the tractor rescue sequence was allegedly due to the notoriously fickle British weather.

That’s all for part three. The final part, with even more extra-juicy Kara Zor-El trivia, will be available soon.

Gugu Mbatha-Raw is an #English actress, known for her role as Kelly in #BlackMirror, Dido Elizabeth Belle in #Belle, Noni Jean in #BeyondtheLights, and Plumette in #BeautyandtheBeast. Shes the daughter of Patrick Mbatha, a #SouthAfrican doctor and Anne Raw, an #English nurse. Her first name is a contraction of “igugu lethu” which means "our treasure" in Zulu. However as a #biracial woman, she fails to fit neatly into Hollywood's pre-determined ethnic and racial roles, a truth she learned quickly when she first starting acting in the U.S. "When I first came to America, it was a bit of a shock to the system in terms of some of the labels that I felt were being applied to me that I felt I didn't necessarily identify with myself”. Her first major American project was in JJ Abrams' 2010 series #Undercovers, as an example; the show was hailed at the time for featuring African-American leads, a rarity on TV, but she never identified herself as "African-American," as neither she nor her co-star Boris Kodjoe were born in America. She’s happy as an actor to portray experiences that are not her own, but it is important for her to also be truthful in her work to her experience as a biracial woman. "I think it's great to not have to choose to be black or white, but to be your complex, wonderful self, for me, it's all about being able to be who you are. Being biracial of #mixedheritage, it's who I am. So, of course, I bring that to every role in some respects.” “There should be more opportunities for people of every background, ethnicity and gender. Having a greater diversity of perspectives in Hollywood is something I feel strongly about.” She was appointed Member of the Order of the British Empire (MBE) in the June 2017 Birthday Honours for services to drama. She’s working on 4 different films at the moment, one of them playing Jennifer Hosten in #Misbehaviour, a film about the events following the 1970 Miss World competition, which saw the crowning of the first black competitor from #Grenada. 👑🎭🎬 #WCW #mixedgirls https://www.instagram.com/p/B03uuntFZk2/?igshid=vd0q8wqgu7q2

Album Review: Grateful Dead - Dave's Picks Volume 30

In early 1970, the Grateful Dead were on the cusp of losing keyboardist Tom Constanten, working on Workingman's Dead and American Beauty and straddling the line between the ragged blues and psychedelia of their earliest days and the more melodic, Americana side they were beginning to embrace.

It was this band that rolled in to New York's famed Fillmore East for early and late shows on Jan. 2, and it's these shows - plus some bonus tracks from the following day - that make up the three-disc, limited-to-20,000-copies set Dave's Picks Volume 30.

It's a mixed bag that ranges from barely listenable, embryonic arrangements of poorly sung new tracks such as "Mason's Children" and "Cumberland Blues" to mind-blowing, well-oiled gems like the sequence of "Dark Star"->"St. Stephen"->"The Eleven"->"Turn on Your Lovelight," made famous on Live Dead, that takes up all of disc 3. At 32 minutes, "Dark Star" is particularly noteworthy with a full-on "Space" segment and hints of what would become "Scarlet Begonias" and "Eyes of the World" percolating through the lengthy jam.

The sound quality is decent and Constanten is high in the mix as he adds unique splashes of color to the Dead tapestry for one of the last times. The drums, however, sound as if the heads are made of crape paper and a weird whooshing sound - whether it was intentional or a flaw in the source tape is unclear - mars the version of "Morning Dew" culled from the Jan. 3 performance.

With a handful of Pigpen showcases such as "Hard to Handle" and "Easy Wind," a barely recognizable "Dire Wolf" that's still prowling around for its final arrangement and a lighthearted, nearly tossed-off version of "Monkey and the Engineer," Volume 30 has some fine rarities to go with its standards. Over the course of four hours of music - including a bonus disc included with pre-orders - the latest Dave’s Picks features the best of Dead, the worst of Dead and illustrates the conundrum facing archivist David Lemieux as he tries to satisfy Dead Heads’ cravings for complete-show releases while making records that are worthy of front-to-back listening.

Grade card: Grateful Dead - Dave's Picks Volume 30 - B

6/27/19

INVISIBLE HITS 2018

Hey hey, 2018 marked the fifth year of my Invisible Hits column for Pitchfork. It’s a fun thing to write and I hope it’s a fun thing to read! Here’s what went down over the past 12 months in case you missed anything. 

The Scruffy Charm of the Audience Tape

These days, virtually anyone armed with a smartphone can come home with a halfway decent souvenir recording of the night’s gig. But the audience taper tradition stretches much further back than the advent of the iPhone—well past the rock’n’roll era, in fact. Until the technology became commonplace and affordable in the 1970s, tapers were a tiny subset of gearheads and obsessives who took the trouble to lug expensive, cumbersome equipment out to concert halls and clubs. The lo-fi documents they left behind may try the patience of those who are accustomed to crystal clear listening experiences, but beyond the hiss and the crackle, there are untold treasures in store.

5 Buzz-Building Tapes That Set the Stage for an Iconic Debut

This year, Matador Records released Girly-Sound to Guyville, a box set that includes a comprehensive collection of Liz Phair’s demos. The long-overdue official edition of these tapes offers a privileged look at Phair’s songwriting in its early stages, her raw brilliance just beginning to emerge. It got us thinking about pre-fame recordings of legendary artists, those precious documents that provide insight into the beloved debut to follow. Occasionally, as was the case with Phair, one of these recordings will be circulated from fan to fan (or musician to musician), building up its own buzz. Here are a just a few notable examples.

When Brian Eno Was a Rock Star: Live Highlights from His Early Days

Brian Eno, who turned 70 in May, has spent much of his career cultivating a professorial image. The oblique strategist seems most content as a studio wizard, whether he’s helping U2 reach multi-platinum heights or partnering with more marginal figures like British pianist Tom Rogerson and Karl Hyde of Underworld. Over the past 40-some years, Eno’s done such a good job at remaining largely studio-bound as a solo musician, collaborator, and producer that it’s easy to forget that for a minute there in the 1970s, he was one of our most dynamic, flamboyant live performers. Eno had what it took to be a genuine rock star—here’s the proof.

Inside Alice Coltrane’s Stunning, Spiritual Musical Quest

Over a decade after Alice Coltrane passed away—or, as her website puts it, “left her physical form”—the musician’s followers continue to grow, via her time with John Coltrane’s late-period band, her pioneering solo work in the ’60s and ’70s, or the deeply spiritual music she recorded as Alice Coltrane Turiyasangitananda. For listeners who want to dig a bit deeper into her long journey, there are several excellent rarities to discover that give an alternate look at her musical quest for transcendence and transfiguration.

Gram Parsons’ Cosmic American Trip

After countless reissues of his work, several tribute albums, and copious myth-making, Gram Parsons’ rep as the godfather of the Southern California country rock sound is perhaps a tad overstated. Among others, his Byrds and Flying Burrito Brothers bandmate Chris Hillman probably deserves just as much credit. But Gram’s elegantly wasted glamour and tragic early death in 1973 have burnished his legend. Plus, the music still holds up. Despite plenty of archival digs over the years, there are still some fantastic Parsons rarities lurking in the dustier corners of the internet.

An Ode to Elvis Costello’s Stellar Backing Bands, the Attractions and the Imposters

Many of rock’s most beloved songwriters come packaged with equally great backing bands: Neil Young and Crazy Horse, Bruce Springsteen and the E-Street Band, Tom Petty and the Heartbreakers. We think Elvis Costello and the Attractions deserve a place in this pantheon, too. It’s almost impossible to imagine Costello’s best work—albums like This Year’s Model, Armed Forces, and Imperial Bedroom—without Steve Nieve’s dazzling keyboard, Pete Thomas’ superhuman drumming, and Bruce Thomas’ imaginative basslines.

How Blondie Got to “Heart of Glass”

A futuristic hybrid of Studio 54 fantasy and CBGB cool, Blondie’s “Heart of Glass” is still irresistible, 40 years after it reached the top of the charts. On a new 12-inch EP, the crate-digging connoisseurs at the Numero Group have peeled back the layers of the song. The opening salvo in the label’s comprehensive Blondie reissue project, the early “Heart of Glass” demos, live versions, and alternate mixes offer a revealing look at the development of a masterpiece—and encourage further exploration. How did this scrappy Bowery group, looked down upon by its more well-respected peers, transform itself into the world’s biggest bands? A dig into a handful of choice rarities offers some clues.

Warm Wheels Cars and trucks - Start up Your Private Collection

Hot Wheels is an excellent brand of die-cast toy autos introduced by way of American Model maker Mattel in 1968. The popularity in Hot Small wheels is a result of the range of toys that they can manufacture. A large number of automobile companies have qualified the brand to manufacture range factor types of their own devices. road for hot wheels on mobile were at first intended seeing that toys for childrens but with time they has become a invaluable item. Therefore , these toys have a lot more value by some people than simply being a way to obtain entertainment. Quotes for quality products to start your unique Hot Rims collection, it will be helpful to do a little exploration before you start shopping for them. Shopping for them at random might not be a good suggestion because you will probably be buying limited editions and it might run you heavily. Do some research within the company background, understand the possibilities that you have and learn the proper means of storing them. Learn how to find the best deals, on line or otherwise. The following suggestions can certainly help you know about the brand, make better purchase deals and make useful investments. Information The Hot Wheels toys in the one particular: 64 range factor will be coveted toys and games or fecal material collection. As they are collectibles, the older or vintage versions are supposed to you have to be valuable. Addititionally there is the possibility of special designs getting more useful than people. Higher benefit means larger price in fact it is important that a person who wants to start his individual collection is aware of the history of those toy automobiles, the popular models and their benefit. These facilitates collectors generate proper promotions not only buying but also at the time of selling toy autos. The following timeline may serve as an important supply of information for all looking to buy Hot Wheels vehicles. 1968 - Mattel produces the very first set of these kinds of toys which comprised of 18 models altogether. It also highlighted the pre-release model of the 1969 Corvette. 1969 - With the incredibly high number from sales Mattel released 25 new Scorching Wheels vehicles, including the VOLKS WAGEN Beach Explosive device which continues to be a loved collection item till night out. 1970 - One of the all-time favourites supports the Leather and Mongoose race collections were presented along with 31 various other models. mid 1970s - The rand name started implementing printed graphics for its vehicles instead of decals. 1975 - Mattel began releasing cycles too beneath the Hot Trolley wheels brand. 1980 - Hi-Rakers, whose rear end axles could be raised to increase the rake of the cars and trucks, were launched in 1980. 1988 supports It celebrated their twentieth Anniversary by way of producing Silver and Gold Chrome cars and trucks. 1990 -- It provides its primary aircraft. 1995 - New edition Treasure Hunt cars were definitely introduced. mil novecentos e noventa e seis - Mattel gains the ownership liberties of Matchbox cars. Following gaining the specified information, you ought to have a fair idea of other sorts of important things. Collector Types The actual type of enthusiast you want to be is very important to figure out how you will would want to commence acquiring your Hot Wheels. Some debt collectors who have a variety purely to get display will need their cars in the unique packing. Whilst collectors who choose to play with the cars desire them usually without the taking. Car Categorizations It can be generally divided into some categories - Vintage (models released previous to 1980), Present day Hot Small wheels (1980-1989) and Contemporary (1990-Present). Price in models usually do not depend might be the rarity or age group but as well on the emotional attachments the fact that owners include with these individuals. Starting Point Any kind of hot Four tires edition starting from 1999 is relatively easier to find as opposed to earlier types. Start with models that are safer to find after which gradually move up the has a high ranking with more appraised or vintage models. Moving Up You can broaden your Scorching Wheels collection by adding equipment too. The rand name also has many tracks starting from simple ethnic background tracks to stunt monitors. Some of them are really cool, just like the one that sends cars straight to the mouth of your alien. Hard drive and Health care A systematic arrangement will help you display the designs in your collection better and even find them easily. Taking good care of the motor vehicles and keeping them in good condition means maintaining the value of the models. You can store them all in Warm Wheels instances and exhibits offered by Mattel itself. You need to keep them out of sunlight, which can diminish the color of the cars. Be mindful that your poker hands are not slimy while pressing them, or maybe that they will not develop imperfections. If it happens, it will simply reduce the significance of the objects. As much as all the above steps are necessary in opening your very own Hot Trolley wheels collection, it might be necessary to find out where to decide to buy toy cars easily. You may buy Hot Tires cars conveniently from india online shopping that usually have good stuff of them.

Sizzling Wheels Cars - Begin Your Personal Collection

Hot Wheels is a popular brand of cast toy automobiles introduced by simply American Doll maker Mattel in 1968. The popularity from Hot Trolley wheels is a result of the plethora of toys that they manufacture. A large number of automobile providers have registered the brand to manufacture increase factor models of their own devices. These were in the beginning intended as toys for kids but with time they became a classic item. So , these gadgets have a lot more value to some people than just being a supply of entertainment. If you intend to start your private Hot Small wheels collection, it will be helpful to do a little homework before you start choosing them. Investing in them at random might not be a good option because you will probably be buying limited editions and it might amount to heavily. Do some research around the company story, understand the possibilities that you have and find out the proper technique of storing these people. Learn how to discover the best deals, on the web or otherwise. The following suggestions can certainly help you know for the brand, make better purchase discounts and generate useful assets. Information The Wheels toys and games in the one particular: 64 degree factor happen to be coveted products or bits of collection. Because they are collectibles, the older or perhaps vintage styles are supposed to are more valuable. Another possibility is the possibility of particular designs being more priceless than others. Higher importance means bigger price as well as being important that a person who wants to start out his private collection is aware of the history of these toy vehicles, the popular models and their benefits. These facilitates collectors make proper discounts not only while buying but as well at the time of providing toy cars. The following timeline may work as an important way to obtain information for those looking to buy Incredibly hot Wheels cars and trucks. 1968 supports Mattel launches the very first set of these kind of toys which usually comprised of 10 models entirely. It also shown the pre-release model of the 1969 Corvettes. 1969 -- With the amazingly high number of sales Mattel released 24 new Hot Wheels cars and trucks, including the VOLKS WAGEN Beach Blast which remains a prized collection device till date. 1970 -- One of the perfect favourites -- the Leather and Mongoose race packages were released along with 31 various models. 1974 - The brand name started utilising printed images for its cars instead of decals. 1975 -- Mattel started releasing cycles too within the Hot Wheels brand. 1980 - Hi-Rakers, whose rear axles can be raised to boost the rake of the cars, were presented in 1980. 1988 supports It recognized their 20th Anniversary by producing Silver and Gold Chrome automobiles. 1990 supports It provides its earliest aircraft. 95 - Limited edition Treasure Look cars are introduced. mil novecentos e noventa e seis - Mattel gains the ownership liberties of Mattel matchbox cars. Soon after gaining the necessary information, you need to have a sensible idea of another important things. Extractor Types The actual type of collectors' you want to be is important to figure out how you would want to start acquiring your Hot Trolley wheels. Some collectors who have a set purely for display will want their automobiles in the original packing. While collectors who like to play using cars prefer them freely without the supplying. Car Classes It can be generally divided into three categories -- Vintage (models released in advance of 1980), Contemporary Hot Wheels (1980-1989) and Contemporary (1990-Present). Price from models you should not depend might be the rarity or age group but as well on the mental attachments that owners own with these folks. Starting hot wheels road with 1999 can be relatively better to find than earlier styles. Start with types that are safer to find and after that gradually move up the rates with more appraised or traditional models. Moving Up You can develop your Popular Wheels collection by adding extras too. The brand also has many tracks between simple competition tracks to stunt trails. Some of them are actually cool, like the one that delivers cars directly into the mouth of alien. Storage space and Attention A systematic layout will help you showcase the designs in your collection better and also find them immediately. Taking care of the automobiles and saving them in good condition means preserving the value of the models. You can actually store all of them in Popular Wheels scenarios and monitors offered by Mattel itself. It is necessary to keep them out of direct sunlight, which can diminish the color from the cars. Be aware that your poker hands are not slimy while holding them, or that they tend not to develop pimples. If it comes about, it will merely reduce the importance of the items. As much as all of the above steps are essential in opening your own Hot Rims collection, it might be necessary to comprehend where to purchase toy vehicles easily. You can aquire Hot Tires cars quickly from india online shopping that usually own good series of them.

hermes pochette kelly 1

Hermes Mini Kelly 22 Pochette Bag In 7a Blue Roy Shiny Alligator Ghw There’s the Constance bag, a favorite of Jacqueline Kennedy, the lately relaunched 1970s-era Evelyne and, on the vintage market, a slew of designs dating again to the Twenties. In the Thirties, Robert Dumas (son-in-law to Émile-Maurice Hermès, Thierry’s grandson) designed a smaller, trapezoidal take on the flap bag with a deal with and two aspect straps. Later, actress Grace Kelly, then engaged to Prince Rainier of Monaco, is claimed to have used considered one of these bags to hide her being pregnant in the course of the Nineteen Fifties. Because she was photographed continually, the coverage catapulted her purse to international reputation. In 1977, Hermès formally renamed the mannequin for her, and the Kelly bag was born. Each Kelly bag takes between 18 and 25 hours to produce, and its 680 hand stitches owe solely to at least one Hermès artisan. mini kelly pochette The trellis beneath the leather-based presses forward, making a waffle impact. To date, the Dwich Kelly has been made solely in Noir and Rouge H Box Calf varieties. The Sellier Mou is one such case of this broken rule. Last year, one of many LV luggage that I’ve had on my wishlist, received discontinued. Look, I don’t really thoughts buying pre-loved, but I definitely prefer getting my baggage immediately from the boutiques. An amazing Hermès Kelly pochette, beautiful electrical blue color, excellent for every day use, day and night. Neutral perfection in swift veau leather with stunning wealthy gold hardware. Just bought from Hermes store; bag bears... Hermes Kelly 25cm Gold Camel Tan Shoulder Bag Togo Retourne Z Stamp, 2021Brand New in Box. Pristine Condition Just bought from Hermes retailer; bag bears... Hermes Mini Etoupe Kelly 20cm Epsom Bag Brand New in Box. Comes full set with shoulder strap, sleepers, and orange... Please enter a quantity lower than or equal to 1. Buyer restriction by Hermes in Paris is not new; one person can only purchase two bags a 12 months. You can have one Birkin or Kelly and the second bag is a free choice. Size-wise, theKellycomes in an array of sizes, starting from mini to outsized . This is a Rare opportunity to get an genuine Hermès Belt Pochette Called "Kelly" Pochette Made in France From 1991 Made of very fine grained leather and gol... One of Hermes' iconic assortment with a variety of line up from luggage, wallets to belts. L'ecrin Boutique Tokyo Please enjoy an opulent Hermes purchasing in a complicated and impressive atmosphere with French Herringbone glass facades surrounding the boutique. Please enjoy a precious shopping on the Online L'ecrin Boutique Singapore. According to a 2014 estimate, Hermès produced 70,000 Birkin baggage that yr. The bag is extremely coveted and has been reputed to have a ready listing of as a lot as six years. The rarity of those baggage is purportedly designed to increase demand by collectors. Jean-Louis Dumas designed the bag based mostly on what Jane Birkin described as the dream bag. One facet of a bag that many counterfeits just can’t appear to replicate is the standard of the stitching. So, if you’re looking to buy a Hermès bag from one of these stores, listed here are some ideas to assist you work out if what you’re shopping for is the actual deal or not. It can also be potential to buy Hermès baggage from stores unaffiliated with Hermès, but these locations are usually where counterfeits may be sold as properly. Hermès boutiques supply completely different collections based mostly on what’s ordered by the store director twice a yr, so you’ll should keep an eye out for brand new arrivals during these times. Was my first time buy from Steven and that i felt i was in protected hands as a end result of all of the beutiful women right here who shared reviews about Steven. Clients are required to upload proof of id documents in order to bid in this sale. Discover the collections curated by our luxurious consultants. wikipedia handbags Condition DetailsThe exterior is in exceptional condition with minimal signs of use. We supply 0% finance options on 1000's of items to UK prospects through our associate finance provider Klarna. Item is in unworn or unused condition and there aren't any seen imperfections. Sign in along with your e mail address to review your account details and orders. It’s additionally uncertain for the way long Hermès shall be producing the Kelly Danse fashion this time. Originally, the fashion has been discontinued due to decrease in reputation. So, I’d say that so long as the bag is in demand, Hermès will maintain producing it. However, should you really need the Kelly Danse II, don’t wait. Baghunter is the home of both pristine and pre-loved Hermès Kelly Cut clutches in a selection of colors, materials, hardware, leathers, and unique skins. Each Hermès Kelly Cut falls beneath Baghunter’s guarantee, guaranteeing each quality and authenticity. Find the exact classic or up to date hermes kelly pochette you’re looking for in the variety available on 1stDibs. Black is a fairly in style color, however we also have Red, Blue, Pink and more in inventory now. When purchasing for these accessories, you’ll find that there are less out there pieces for males or unisex right now than there are for girls. This Kelly Cut is in Rose D'ete swift leather-based with palladium hardware and has tonal stitching, two straps with front toggle closure and a high flat handle.