Issue V Summer 2014
Summer Celebration
What suit suits you? swimsuit guide
1920s Glamour How-To
...vintage style!
up close & personal
The Cramps
contents
Issue V Summer 2014
13
7
Atomic shapes
Cribbage
...yeah you love ’em
a father & son bond
5 Master the look of 1920s glam FEATURES
43
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Swimsuit Guide
The Cramps An insider’s look at the legendary psychobilly band
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Suit Up! Grab your sunnies and sunscreen...and dive into our mega swimsuit guide
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Father and Son Cribbage The game that forged an unbreakable bond between father and son
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LIFESTYLE 13 5 37 11
ON THE COVER Red Dolly Dorothy One-Piece Model: Cherry Colista; Chris Gomez Photography
The Shape of Things to Come Become a 1920s Vamp Fashion-torial: Hot Child in the City Can You Guess These Fabulous Feet?
Get your vintage on at
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The Cramps
Vintagevillemagazine VintageVille Mag
49 Make your best shake. Ever.
REGULARS 3 52 21 49 41 53
Editor’s Note Color Crush Time Capsule: Pool Party 1964 Recipe: Chocolate Shakes Covet: Gasp-Worthy Vintage Finds Runway Roundup
staff Executive Editor Managing Editor Contributing Writer Columnists Design Contributing Photography
Emily Lux Jon Hechtman Lee Powell The Glamorous Housewife Another Man’s Treasure Daphne Drake EHL Creative JH Studios
Megan Addie Photography
© 2014 VintageVille Magazine and EHL Creative LLC. All Rights Reserved.
Editor’s Note
Aaahhh... Sun, surf, sand. It’s what summer’s all about. This issue of VintageVille celebrates everything summer...starting with our bathing suit buying guide on page 41. Plus don’t miss out on our insider look at the legendary psychobilly band, The Cramps, on page 25. Or discover a whole new look – 1920s glam style – with our easy how-to tutorial on page 5. Until next time,
Emily Lux, Editor
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www.bif fandbet tys.etsy .com
Become a 1920s Vamp N ...featuring the lovely Claire Powell 1.Your Base Coat
Ivory and porcelain shades were most often used in this era. Skin was made to look creamy and doll like. To achieve this, use a foundation with a heavier coverage that complements and brightens your natural skin tone.
2.Eyebrows
Eyebrows were dark, thin, highly arched and exaggerated downwards. Select an eyebrow pencil or eyeliner that’s darker than your natural color. Pencil i n your eyebrows to sharpen them, bringing the line just a little further than the point they naturally finish.
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3.Eyeshadow & Eyeliner
This was the era of the Femme Fatale so you want to look smoldering and sexy, not harsh and gothic. That’s why it’s important to smudge and blend. Apply the eyeliner first using a smudging brush to blend around the whole eye. Then use a gray, black or dark brown eyeshadow carefully blended above the crease to the brow. And for the perfect film-star panache, give false eyelashes a try.
4.Lips
Lips should be pouting with a bee-stung look in either a matte dark red or plum shade. Glossy lips are a no-no! Use a freshly sharpened lip liner pencil to exaggerate the cupids bow on your top lip. To plump the bottom lip, pencil just outside the natural lip line. Both the top and bottom lips should be drawn slightly shorter on the sides. Next, fill in the color with your lip liner and cover with your chosen lip stick (this helps keep the color looking fresh!).
Father and Son Cribbage the bonding ritual By Peter Reum
Whenever we got back from doing whatever weekend work my father's New Mexico hobby farm demanded, after dinner, after a badly needed hot bath, more often than not, my dad would break out his cribbage board and say "You want to get beat?" I'd respond with something lame, and sit down for our semiweekly game of cribbage. Now, this was also a ritual at my father's work, and there was rarely a noon hour for 32 years that passed that my dad did not sit down with some co-workers and play a game of partner's cribbage. VintageVilleMag.com | 8
Cribbage is not as complicated as pinochle, nor as easy as rummy. If there is a strategy to it, it is limited to what card to lead, what card to play in the part of the game when cards are laid out in combinations to score points, and what cards to get rid of into the spare hand called "the crib" that is counted after playing out dealt hands. Games are tabulated on a cribbage board, and each game is won by scoring 121 points before your opponents can. If you win by 31 or more points, the win counts for two games. This is called a "skunk." If you win by 61 points, it's called a "double skunk." The game allowed my dad and I to interact on a competitive level that was "safe." I found the nights when I won exhilarating. Nights when I lost, or did not get the cards were very deflating. My dad was a person who was very athletic, and could play almost any physical game well within a few hours of taking it up.
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My athletic ability was good, but nowhere near my dad's. Although he was quite a bit older than the average dad, he was still quite lithe for an older man. Our games of cribbage were played on a level playing field, because even though we began playing when I was seven or eight, I rapidly understood the basic game, and began to play him evenly fairly quickly. My dad loved to work. He worked 45 to 50 hours a week, and then came home and worked 12 hours a day on his hobby farm. He liked me to work beside him. I wanted to please him, and working beside him and getting any praise he gave me was gold....better than any currency. The cribbage games were a time when I didn't have to work, I could just be with him and play. The skills I learned from him playing cribbage were subtle. I learned the skill of man-talk, that is, the short hand dialogue between men in which what
is not said is more important than what is said. I learned to lose with grace, and win with modesty. I learned to use humor as a way of expressing feelings in understated ways. I learned to enjoy my father as a man, and to think of myself as a man to be. My father was a guy who did not think violently, hated guns, and yet helped develop some of the most deadly weapons ever created. Somehow, cribbage just let him be himself, without the heavy trappings of work, family, or great expectations. He would sit down with the guys he supervised, or with me, and for a few hours, all was forgotten. He could just have fun. His favorite gift that I ever gave him was a beautiful wooden cribbage scoreboard, with bronze and silver scoring pegs. Late in his life when he was losing his sight, and could barely see due to macular degeneration, we would sit down
together when I was in New Mexico visiting, and play cribbage. I would walk up to him, and say "You want to get beat?" He'd laugh, smile, and our bonding ritual would bring us together once again. He died of smoking induced emphysema at age 70 in 1985. He apologized to me every time I visited, saying "Peter. you were right, I should have stopped smoking, but I didn't listen to you." I would reply by saying "I don't like being right, dad, I wish you were feeling better." After his death, a number of his  personal effects came to me. The cribbage board was a part of them. I have it on my bookshelf next to my stereo and books in my bedroom. I pull it out and look at it once in awhile. But I have never played cribbage with it, it's just not the same.
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s u o l u b a F et? e F
Can you guess these Put your skills to the test and see if you can figure out what toe-tapping film made these feet famous.
1.
2.
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Answers: 1. Footloose (1984) 2. Grease (1978) 3. Dirty Dancing (1987) 4. Top Hat (1935) 5. Flashdance (1983) 6. Singin in the Rain (1952)
3. 3.
4. 5.
6.
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✦ ❉
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the s h a p e of things to c✻me ✦
❉ "Duck and cover!"
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For those too young to remember, that was the advice given by a kindly animated turtle named Bert, in a movie shown to cold-war-era U.S. schoolchildren. That's what you were supposed to do when you saw "the flash" of the A-bomb: duck down and take cover. Would that make any difference? Nope. But it was important for citizens, even very young ones, to think that there was something they could do to ensure survival once they dropped the bomb. And they were going to drop that bomb – it was a 'when,' not an 'if'. That overriding fear dominated those decades. We built bomb shelters. Practiced civil defense drills. Wrote despairing protest songs about the end of civilization.
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In the end, of course, "they" didn't drop the bomb…and neither did "we." Today, looking back on that tumultuous time, we can see a fundamental irony that might have eluded us back in the day. Because while we lived our daily lives in the shadow of nuclear fear, we also incorporated "atomic" motifs into the everyday things that surrounded us: our furniture, our cars, even our clothes.
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The fear has faded, but the charm of the designs remains. Call it retro-futurism, if you like, or mid-century modernism – or dispense with the "isms" altogether, and see it as a simple affection for the funky forms of a more innocent past. Whatever name you choose, one thing is clear: atomic-age style is hotter than ever. That's good news for vintage lovers, because it means it's easier than ever to decorate your home in marvelous mid-century style. Nowadays we tend to toss all of these designs into the "atomic" bucket, but the reality is a little more complicated than that. On the most basic level, atomic-era design breaks down into at least two broad “schools.” They don’t have formal titles, so let’s give them nicknames: Organic Inspirations and Sci-Fi Fabulous. Here are a few favorites from each one, both vintage and vintage-inspired. 13 | VintageVille Magazine
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Organic Inspirations The name tells the story. This design movement features shapes inspired by living things: plants, animals, people and more. "Inspired by" is the right phrase, because these aren't representational designs; they're organic, yes, but abstract. Living things are very good at multiplying, and that's exactly what these shapes did, all through the midcentury period. You'll find them on laminate countertops and textiles. Giving shape to cocktail tables. As buildings. In other words‌everywhere. Here are just a few notable examples. Take this "living" aesthetic, scale it up to grand size‌ and here's the result. Eero Saarinen's TWA Flight Center at Kennedy Airport, TWA Flight Center at Kennedy Airport opened in 1962, was inspired by the organic form of birds' wings – an apt symbol for air travel. The building's integrity has been compromised over the years (it's currently slated to be transformed into a hotel), but it remains a stunning architectural icon.
Classic boomerang shapes give this laminate pattern, from Wilsonart, a high-energy retro-chic vibe. But this isn't a vintage design; it's a current selection from the brand's "Indie" collection.
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The kidney-shaped cocktail table was a mainstay of atomic-era design, equally at home in penthouses and suburban splitlevels. This is a modern reinterpretation by Jonathan Adler, featuring a twelve-layer lacquer finish.
t Mid-century designers searched for inspirations everywhere‌even through the eyepiece of a microscope. They found an entire vocabulary of microbe-inspired shapes, and applied it to all sorts of objects – especially ceramics. This amoeba ashtray, strikingly large and colorful, is typical of the style.
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Always looking for the next trend, mid-century auto stylists were quick to incorporate organic forms into their design language. The taillights of this 1960 Chrysler borrow the iconic boomerang shape, turning it into pure sculpture.
Sci-Fi Fabulous You might say that these designers followed the same practice as their organic Inspirations counterparts, looking to nature for inspiration. But they looked a lot closer…into the atomic structures that underlie all of reality. The conventional representation of the atom – a nucleus orbited by electrons – became a recurring motif. But this style wasn't all about particles. It also drew on the contemporary obsession with space flight – real and imagined – borrowing elements such as rocket shapes, gyroscopes and fins. Add in a healthy dash of science-fiction fantasy, and you've got a decidedly funky take on the future.
We had nightmares about nuclear missiles, but we daydreamed about driving missile-shaped cars. This 1961 Thunderbird is a splendid example.
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This style had an obvious affinity for the "advanced" products that filled the homes of the period: televisions, clocks, appliances…and, of course, radios. This stunning pink Emerson, with its clear lucite base, dates from the mid-1950s.
The Trylon and Perisphere brilliantly captured the Art Deco aesthetic that inspired the 1939 New York World's Fair. A quarter-century later, the Unisphere – central symbol of the 1964-5 Fair – transformed the Earth into the nucleus of a gigantic atom.
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The distinction between these two mid-century "movements" is a real one; but the practical truth is that both styles coexisted happily, with designers blending elements of each to create dynamic designs uniquely emblematic of their era. This was especially true in the case of textiles, where orbiting atoms and bouncing boomerangs often lived side-by-side. Case in point: this fabulous vintage-inspired modern print.
Even humble everyday objects became exemplars of sci-fi style. This late-1950s Russian desk pen took its “Sputnik� inspiration quite literally, with three missilelike fins added as decorative elements.
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www.theglam oroushousew ife.com Get your daily dose of glam! • Shop the boutique • Style your life • Discover new passions • Find new friends in The Glamorous Housewife Forum
Visit www.TheGlamorousHousewife.com
Pool Party 1964 It's 1964…in sunny southern California. The U.S.A. is poised on the brink of seismic cultural change: civil rights, antiwar protests, Beatlemania. We're caught between the sunset afterglow of innocent 1950s optimism…and the brilliant dawn of 1960s energy and excitement. Mercury astronauts are orbiting the earth, but we're still cruising the boulevards and hanging out at the drive-ins. It's a unique, wonderful moment in history. So let's celebrate it in iconic style, with – what else? – a pool party. Which 45s would have been spinning on that transistorized portable record player? What would you have worn…eaten… driven? Consider this your invitation. Let's go!
YOUR WHEELS One of the biggest hits of the year? The Beach Boys' "Fun, Fun, Fun". So we couldn't possibly leave out the Ford Thunderbird – especially in its "Sport Roadster" version, with a removable rear tonneau cover that instantly transforms it into a two-seater. That's not the only car namechecked in a hit single, of course: there's the Corvette Stingray, the Pontiac GTO, the Chevy "409," the legendary Deuce Coupe ('32 hot rod Ford)…not to mention the iconic woody wagon (loaded up with surfboards, naturally). If the hot rods and muscle cars seem a little bit crude, there's always the classic British roadster: an MGB or Triumph Spitfire, among others. Want something quirkier? The VW Beetle is an obvious choice – or you could go for the Chevy Corvair, an engagingly odd Detroit attempt to create an "import" of its own.
YOUR SCENT His: Traditional after-shaves are the order of the day. The U.S. is experiencing a curious infatuation with UKthemed fragrances: both English Leather and British Sterling (in its flask-like bottle) are popular. Looking for a different take on a classic leathery scent? The cold war is raging, but that doesn't hurt sales of Russian Leather. And plenty of men, young and old, are sticking with the good old drug-store aftershaves: Old Spice, Afta and Gillette Sun Up. Hers: Channel your inner Audrey Hepburn with L’Interdit, a delicate romantic scent created especially for the actress. Wanna go floral and femininel Then Tuvache’s Oh! de London is for you, with its bright, sparkling florals bursting with notes of bergamot, sage and chamomile.
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YOUR TUNES 1964 marks the Beatles' first appearance on the Ed Sullivan show. In the aftermath of that monumental event, the U.S. music scene will shortly be swamped by the tidal wave of the British Invasion. But for now, the American charts are still dominated by home-grown artists…and the variety of musical styles is remarkable. Here in California, the surf-and-car culture is inspiring hits like "Pipeline" by the Chantays, "Surf City" by Jan & Dean, and classics like "Surfin' USA" and "Shut Down" by the Beach Boys. But there's also plenty of good old 50s style rock and R&B – songs like "Be My Baby" by the Ronettes, "Da Doo Ron Ron" by the Crystals, "Another Saturday Night" by Sam Cooke and "Up on the Roof" by the Drifters. Add in some early folk. courtesy of Peter, Paul & Mary's mainstream version of Dylan's "Blowin' in the Wind". A little country, too: Johnny Cash's "Ring of Fire." And don't forget traditional vocalists like Nat King Cole, Tony Bennett and Andy Williams – they're also well represented among the top 100. The high-water-mark of musical diversity on the U.S. charts? Sure seems like it.
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QUICK TIP It might be fun to create a party playlist featuring period songs mashed up with later tunes inspired by the original styles. Just one example: follow the Beach Boys' "Surfin' Safari" with the Ramones' "Rockaway Beach." Instantly, you'll understand the Beach Boys' garage roots…and the Ramones' debt to early surf music.
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All the back yard cook-out classics…of course. Hot dogs and hamburgers – cooked on a simple open charcoal grill or Hibachi – are the starring attractions. Side dishes include chips, baked beans, potato salad and cole slaw. If you feel like going a bit upscale, you can always toss some chicken on that grill. Desserts are ultra-simple: ice cream is the number one choice, either dished up solo or paired with home-baked brownies. For a more interactive option, nothing beats the fun of s'mores.
QUICK TIP It's easy to put a modern twist on these favorites. Try cheesestuffed burgers or gourmet sausages. Give the chicken a preparty spice rub, and slather on an assertive chipotle barbecue sauce. Update the potato salad with zippier seasonings, and add some finely shredded jicama for extra crunch.
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YOUR HAIR His: The British mop-top look hasn't yet crossed the pond. The most popular U.S. look is the crew cut, in several different variations: classic crew, buzz cut or "butch" (super-short all over) and "Ivy League" crew cut – short on the sides, but a bit longer on top. In California, "surfer" dos are hot: longer and stylishly tousled (extra points for an authentic sun-bleached look). Hers: Bouffants, beehives and bobs. Oh my! They all ruled in ’64. Fringe is a mainstay, too. And don’t forget to add the perfect summer fashion accessory: the headscarf.
YOUR STYLE His: Think slim – that's the early-60s casual silhouette. Button-front patterned or madras-plaid shirts, with short sleeves…often paired with higher-waisted khakis or Bermuda-length shorts. Polo shirts and penny loafers are popular, too. Patterns and colors are getting bolder – but (as usual) California is taking things a bit further, with Hawaiian shirts, tiki prints and surf-inspired board shorts turning up everywhere. Hers: Dare to bare! The focus of suits changes from the decolletage and bust line of the 50s to the belly buttonbearing midriff. Bikinis are super popular. And thanks to stretchy nylon, zippers are no longer needed.
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The Cramps The Cramps
The Cramps
The Cramps
The Cramps
The Cramps
The Cramps
The Cramps The Cramps
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The Cramps
The Cr a look at the legacy of one of the best Psychobilly bands ever By Lee Powell
Photography: Rocky Schenck; permission granted to use.
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“Ladies and gentlemen, live from the Peppermint Lounge…the Cramps!” Well, here comes the one that you've been dreaming of, I'm the most exalted potentate of love, I got a mojo hand and it fits like a glove I'll be comin’ ’round the mountain to get your love I'm the most exalted potentate of love The excitable and instantly captivating vocal delivery by Lux Interior. The dual guitar-anddrum musical assault that echoed out the distorted rockabillyesque beat. Together, they made up the band’s 1983 album Smell of Female. The sounds rained down like a calling. I was experiencing my first musical epiphany – a flash of enlightenment. As the vinyl spun I was sucked, almost hypnotically, into its presence. Can listening to music be like a religious awakening? It hadn’t been…up to that moment. But this time it was something incredibly special, something which couldn’t be categorized or labeled. I was entering a whole different level of musical enjoyment; I was entering the wild, wild world of the Cramps. It’s a land I have explored for the last 25 years…and one that I’m in no hurry to leave. I class myself fortunate that I was born in the 70s and got into music as my main hobby and passion from around the age of 14. The musical landscape was immensely different back then. We had the usual chart fodder of popular radio, but within the UK the Indie music scene (College music scene in the USA) was also flourishing just beneath the surface. Many Indie bands managed to push their way into the mainstream world, if only for a single or two. The Indie scene was filled to the brim with tremendously exciting and innovative acts, representing a whole universe of genres – from goth, to punk, to guitar noise, to psychobilly… and everything else in between. It grabbed my interest instantly. Around that time I had another stroke of good fortune: my parents had satellite TV installed. Obviously MTV was a huge draw (as was its VJ Pip Dann, whom I had a HUGE crush on at the time), and its Sunday night alternative-music
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showcase “120 Minutes” swiftly became my musical bible. Thankfully, in those pre-CD and pre-Internet days, the record shops still carried a massively diverse range of styles, and the Indie/ alternative scenes were well accounted for. I remember rooting through the sleeves in one such little shop, as I often did: the sleeve artwork and band’s name often acted as an insight to the band’s sound. I recall coming across Smell of Female by an unfamiliar band called the Cramps. I’m not sure what it was – perhaps the dancing showgirl girl on the front cover piqued my 15year-old interests – but I decided to take a chance. I bought the record, and from the very first play…well as the saying goes, ‘nothing was ever the same again.’ The Cramps were, are and always will be a unique phenomenon. They took the very essence of rockabilly, in its purest form, and threw it headfirst into the sprawling noise of 60s garage rock and 70s proto-punk. They grabbed the world of the obscure, bizarre and downright Above: The Cramps – photography: Rocky Schenck; permission granted to use. Right: Ode to Ivy featuring model, MAU & stylist Claire Powell. PhotographyL Simon Walden
odd, and injected it all with a huge swath of glamor, sexuality, danger and originality. The mixture original and astonishing. Trying to pigeonhole the Cramps into a musical style is futile, because the Cramps weren’t just a musical
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group; they were a way of life. Everything they did resonated through the day-to-day word of Lux Interior and Poison Ivy, and this in turn was reflected in their music…to devastatingly compulsive effect. If there was ever a band that Above and Right: The Cramps – photography: Rocky Schenck; permission granted to use.
deserved the crown for capturing the seedy underbelly of “vintage” life, in the truest sense of the word, the Cramps are indeed it. The genesis of the Cramps goes way back to 1972, when Erick Purkhiser happened to pick up a young Kirsty Wallace hitchhiking. It was love at first sight. They were both immersed in the alternative subculture, and shared an admiration for the more extreme side of rockabilly music. These two individuals had found their soul mates. They became instantly inseparable – joined in a relationship that endured until the untimely passing of Lux in 2009. Erick and Kirsty didn’t fit into mainstream society, and they made no bones about it. There was no way these wayward spirits were going to conform and become just another 9-5 couple; so it seems almost inevitable, in hindsight, that their love of raw, sexual 50s rockabilly would drive them to start a band together. Adopting the noms de plume of Lux Interior and Poison Ivy Rorschach, respectively, the pair moved to New York in 1975 to peruse their love of the deviant side of life. And shortly thereafter, the embryonic beginnings of the Cramps, like Frankenstein’s Monster, jolted into life. With a mission to re-introduce the masses to the primitive rock ‘n’ roll and rockabilly of the 50s – styles that had all but been forgotten, diluted by the stylings of the Las Vegas-era, jump-suit wearing Elvis, Lux and Ivy began the search for other band members they deemed worthy to join them on their quest. After the comings and goings of a few shortlived members, the first solid (and now legendary) Cramps line-up stumbled out of the darkness…and face first into the punk/new wave scene that called New York home. With Nick Knox on drumming duties and horrorcomic reject Bryan Gregory on guitar, the Cramps set about spreading their raw, underground gospel with the release of their debut 7” on their own Vengeance record label: the double-A-sided “The Way I Walk” and “Surfin’ Bird” (with the apt catalogue number of 666). Although both songs were covers, the Cramps radically restructured them, turning
them into something totally new. The result was shockingly different…a sound that the band truly owned. This release set a pattern that the Cramps would follow throughout their history: reintroducing lost, rough gems of rock ‘n’ roll excess, remolding them into songs which could have just as easily stood as original compositions. In turn, this has led legions of Cramps fans to search out the original recordings and explore the world of obscure, esoteric 1950s-60s rockabilly, surf and garage rock. In fact, there is a considerable number of compilations out there gathering together these forgotten masterpieces – collections with names like Songs the Cramps Taught Us, The Cramps Jukebox and Beats from Badsville (the first and last titles are references to albums from the Cramps’ back catalog). Their debut was soon followed by two more 7” singles: “Human Fly” (arguably one of the most {in}famous tracks the band recorded) backed with “Domino”, and “Rockin’ Bones” backed with “Mad Daddy” on the flipside. The Cramps’ reputation grew with the release of each new record – as did the swelling armies of fans that had become addicted to their dark, sexual image and voodoo rockabilly sound. In 1979 the Cramps supported The Clash: a pairing that
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exposed them (indecently of course!) to a much larger fan base. And with the release of their debut 12” Gravest Hits, which collected together the band’s 3 singles with the addition of one new track, word spread about their wild and debauched spin on rock ‘n’ roll – a style which seemed to fit – in truth rather awkwardly – into the thriving UK and US punk and new wave scenes. March 1980 saw the release of one of the most important records in the history of rock ‘n’ roll: the Cramps’ first album, Songs the Lord Taught Us. The landmark release saw Lux, Ivy and company tear through a full collection of tracks, each one pushing the boundary of untamed rock ‘n’ roll further into the debauched and unintelligible world that the Cramps had made for themselves. With the release of Songs the Cramps became an internationally renowned group. But their placement in a particular genre was nigh on impossible. They skirted around the peripheries of the increasingly popular post-punk, new wave, goth and psychobilly genres, pulling in fans from each of them. They were more than content to forge their own path, and not at all content to conform or yield any of their own beliefs. Instead, Lux and Ivy were steadfast in projecting their own sound further and further afield through a number of further singles and albums, each one expanding and redefining the band’s sound and presence. Of course, as with all the rock ‘n’ roll greats, the career of the Cramps wasn’t always filled with highs; the band had its own share of setbacks, tragedies, pain and simple bad luck. Bryan Gregory disappeared one night with the band’s kit, never to be seen again. There was a long, drawn-out legal battle with the IRS label that had released their debut. The band struggled with the retirement of its long-time drummer and an ever-revolving cavalcade of musicians joining (and departing) its ranks. Yet throughout, Lux and Ivy never buckled under – a powerful demonstration of the partners’ drive, determination and passion. Although the Cramps never sought mainstream popularity, the band’s love of trash culture, Left: Paying homage to Poison Ivy featuring model, MAU & stylist Claire Powell. PhotographyL Simon Walden
obscure films and long-forgotten music acted like a beacon to swarms of disenfranchised souls. This attraction, coupled with their raw rockabilly and garage-rock influenced sound, made their appeal immensely wide-reaching. It was as if Lux and Ivy were offering a window into their world; and if that world appealed to you on any basic level, you were welcomed in with open arms. The 80s turned into the 90s; but needless to say, the popularity of the Cramps never waned. Alternative music styles came in vogue and disappeared, but the Cramps always wore their own unique style as a badge of honor, working tirelessly in the background of the alternative music world, producing classic album after classic album and racking up a heady number of now legendary live performances (one of which I was fortunate enough to see in 1992). Each album had its own merits and unique charms, but the Cramps always sounded like the Cramps. You always knew where you stood with them… and what you were going to get. And time and time again they delivered, never failing to impress. Psychedelic Jungle, Smell of Female, A Date with Elvis, Stay Sick, Look Mom No Head, Flame Job and Big Beats from Badsville – all were classics, and each one offered up the usual mixture of originals and long lost treasures, delivered in the unrelentingly raw, often overtly sexual manner that only the Cramps could pull off with such style. In 1992 the Cramps released what was to become their last album, the stunning and much overlooked Fiends from Dope Island. Once again mixing huge swaths of primal rock ‘n’ roll with trash culture, b-movie horror madness and pulse-throbbing sexuality, Lux and Ivy scorched their way through 13 tracks of unbridled, raucous, guitar driven rock ‘n’ roll: music that grabbed the listeners by the throat and dragged them bodily into the band’s private world. The Cramps were showing no signs of slowing down and growing old (dis)gracefully. And then tragedy struck the band in a way that no-one could have foreseen, with the untimely death of
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their legendary front man Lux Interior on the 4th of February 2009, after suffering a sudden Aortic dissection. That day the world said farewell to its “Elvis from Hell”…and one of its greatest rock ‘n’ roll bands. We had lost the Cramps, but Ivy had lost so much more; she’d lost her soul mate, her other half and her best friend. One can only imagine the gut-wrenching loss she must have felt. No one was surprised when she all but disappeared into the shadows from which she and Lux had crawled all those years ago. The death of Lux touched every one of the Cramps’ followers. The Internet was abuzz with shock, disbelief and sadness. Those who had entered the world of Lux and Ivy had lost their idol, and one of the most original and innovative front men ever to grace the stage. But the influence of the Cramps has stretched far and wide, with countless bands paying homage to them – citing them as influences, or even going so far as to record cover versions of their classic tracks. Nowadays the Cramps are widely revered, elevated as the true rock ‘n’ roll legends they were – and always will be – to their legions of fans. I remember when I first met Claire, now my wife. As our initial conversation turned to music, the Cramps were the first band we talked about. Our admiration for the work of Lux and Ivy was and is huge, so it seemed only fitting that the first dance at our wedding reception would be a Cramps song: the camped-up, throbbing rock ‘n’ roll beast that is ‘Bikini Girls with Machine Guns’. All this stuff will kill ya, it's all loaded with fun It's bikini girls with machine guns And now they say that virtue is it's own reward But when that surf comes in I'm gonna get my board I got my own ideas about the righteous kick And you can keep the rewards, I'd just as soon stay sick
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Vince Ray . .on The Cramps Vince Ray is a name familiar to anybody within the modern day rockabilly and psychobilly scenes. He’s an artist, musician and massive fan of the Cramps. It seemed only appropriate to get his thoughts on a band that has influenced (and continues to influence his career) in such a major way. The Cramps hey? I can't think of many bands who can take their influences, rise above them, destroy them and reconstruct themselves into a new shape. The Cramps defy any labels, they weren't psychobilly, rockabilly or a garage punk band. They existed in their own dimension. The dimension of THE CRAMPS! And I can't think of a band who influenced me more than the Cramps. I was the world’s laziest art student in 1980. I remember laying on my girlfriends bed in a giant ashtray of cigarette ends and beer cans listening to a record that a pal had just lent us. Pauline looked over at me with a big smirk on her face as the opening buzz saw riff of “Human Fly” throbbed from the busted up old Dansette record player. We liked it. We were romantic that way. The back of those early record covers contained information about the band’s fan club, the Legion of the Cramped, and I immediately joined. There was something magic about joining a band’s fan club in
those pre-Internet days. From time to time, a grubby brown envelope would drop through the letterbox with a blurry LOTC stamp on the back. I'd tear it open and sit reading every word of Lindsay Hutton's handwritten Cramps magazine, checking every detail of the band press photo and wearing my new badge with pride. Who else had one unless they were a member of the mysterious Legion of the Cramped? The first rockabilly style band that I played in were considering new material and I suggested “Tear It Up” by the Cramps. The drummer laughed and said it was by the Johnny Burnette Rock and Roll Trio. Said I should check them out, I might like it. This was the beginning of a long journey down a bottomless pit of weird and wonderful old recordings and, like many others, it was the Cramps that started me on this track. Gotta see 'em. Gotta see 'em live. From the first gig I saw at Hammersmith Odeon, I
Above: Photography ©Vince Ray. Used with permission. VintageVilleMag.com | 34
never missed a visit from the Cramps to our Limey shores. And I was never disappointed. I regard Lux Interior as one of the greatest front men of any band I've ever seen. He seemed to have dropped out of a UFO onto the stage, an alien rock and roll being from another world with a desperate message. Staggering around half naked in high heels, he seemed unsure of how to dress and behave like a normal human being. I loved hearing him talk between songs, whether it was a lengthy dissertation about his favorite vintage TV listings or a short smackaround-the-head comment about the next song.
or the James Bond theme. How can you take three chords and make them original? Ask Ivy. I even had a masochistic pleasure in listening to those lengthy psychedelic freakouts whilst Lux recreated the shape of a microphone stand and beat his way through the floorboards of the stage.
These were still the days of gobbing at bands, an unhealthy hangover from the early punk rock days. We don't do that anymore hey kids? Or see a stage knee deep in beer glasses, shoes and whatever else folks thought smart to throw at a band. Not that it's a good idea really. I remember Lux having his fill of the spitting at a Hammersmith gig. He took a final swig from his wine bottle and yelled “Have you thought about your future? Have you thought beyond your future? 'Cos if you don't stop spitting on me, this is what's gonna happen to ya!” and held the wine bottle out as if he was going to throw it any second. Good God, this half naked man is willing to take on a thousand people in a fight!
Interviews were rare, the band appeared to be in control of the way they ran their business and they seemed to know they were destined to live in some lost world of old Hollywood style glamour. And it's still the same. Will there be any more stuff released? Old footage, recordings? Any treasure still in the chest?
What can you say about Poison Ivy? Don't give me that 'strong woman playing guitar in a man's rock and roll world... She's just Poison Ivy and that's enough. Sex playing a guitar. If you don't like it, lick my gold lamé hot pants attitude. Riffs that are worked out in her head. Weird little melodies that left you thinking, I wish I'd thought of that. So simple but effective. Like the five note riffs from “Peter Gunn”
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The Cramps always seemed ahead of the game. I loved all the black clothing, bones and skulls of their early style and we all went along to gigs that way, only to find the band dressed in gold, glitter and burlesque costumes...way before any burlesque scene had emerged.
Michael Jackson died around the same time as Lux. The news filled the headlines, tributes came in from every corner of the celebrity world, documentaries were aired. But I wanted a documentary about the Cramps. I wanted to see a movie made. I wanted the 20th century’s greatest performer honored. But that kinda thing doesn't fit into the Cramps dimension. They left leaving us wanting more. I guess you get the message, I liked the Cramps. Stay Sick, Vince Ray www.vinceray.com www.facebook.com/vinceray58
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Brands! Designers! VintageVille Magazine is looking for great vintage and retro products to review for upcoming issues. Interested? Send us an email at hello@VintageVilleMag.com
A USA Today “Top 10 Great Places to Shop” for vintage clothing, Another Man’s Treasure is a true mecca of fantastic vintage finds for men and women. The boutique offers a kaleidoscopic of vintage fashions, accessories, shoes and jewelry from the 1940s-1980s with a special focus on classic, high-fashion vintage trends.
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Model: Sadie Grace Photo: MEB Photography Hair: Lindsey VanRosmolen Hat: Madd Hatts Wardrobe: Grand Rapids Vintage & Thrift 37 | VintageVille Magazine
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1955 Pink Typewriter Royal Quiet De Luxe. $595 Big Bang Zero
~ gasp-worthy finds ~
R. Huber & Co. Danish Modern Lounge Chair & Ottoman. $1,795 Joint Effort Studio
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1920s Art Deco Sapphire and Diamond Bracelet in Platinum. $9,250 Beladora
Kay Mandolin. $499.95 Udderly Good Stuff
1920's Silk Dress. $800 Morphewconcpet
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! p U t i u S The year was 1946. And the bikini was in the spotlight. French designer Louis Reard named “Le Bikini” after Bikini Atoll, part of the Marshall Islands in the Pacific where the U.S. was conducting nuclear tests. But Reard had a problem. He couldn’t find a model to bare her belly button (gasp!) for this scandalous suit. So exotic dancer Micheline Bernardini was hired. After photos of her suited up hit the stands, Michele was instantly swamped with fan mail. Over the years, women’s swimwear inched up and down...eventually embracing body-hugging silhouettes. From bloomers to bikinis, here’s our quick pick of suits that’ll have you looking cool by the pool.
Red Dolly Dorothy One-Piece, $76 Model: Cherry Colista Chris Gomez Photography 43 | VintageVille Magazine
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Red Dolly Ruffle Swimdress, $115 Model: Heather Stepanik Photography: JT Proimaging
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Red Dolly Bella One-Piece in Pink, $78 Model: Heather Stepanik Cindy Gearhart Photography
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Skeleton Swimsuit $48 Pinup Girl Clothing
Bathing Beauty $89.99 ModCloth
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Betsey Meets Friends Suit $93.98 Betsey Johnson
Sailor Style Bikini $76 Unique Vintage VintageVilleMag.com | 48
milkshake
My brings all the boys to the yard By Daphne Drake
Milkshake season is officially upon us. And nothing beats the heat like this sweet, frosty ice cream concoction. The best part? Making milkshakes at home is unbelievably easy. And the good folks at King Arthur Flour have a wonderful recipe sure to satisfy. It doesn’t get any more classic than a chocolate shake, and this recipe draws from that craveable, old-fashioned malt shop-style flavor. So grab your straws (and spoons!) and dig in. "Hot Chocolate" Malted Milkshake Makes 2 cups
Ingredients
PREP 5-7 mins READY IN 8 mins
1/4 cup King Arthur Premium Hot Chocolate Mix, or other hot chocolate powder 2 tablespoons malted milk powder 4 ounces low-fat milk 1 cup (about 3 scoops) vanilla or chocolate ice cream, store-bought or homemade
Directions 1. Combine the hot chocolate and malted milk powder in a small bowl or measuring cup. 2. Whisk in the milk until no clumps remain. 3. Combine with the ice cream in a blender. Mix or blend on low speed for 3 seconds, then on high speed for 30-60 seconds, until thick and smooth. Top with whipped cream...and enjoy!
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1. Choco Chip Mints Men’s Socks $20 Soxfords | 2. Mint Green Seersucker Necktie $24.95 Me and Matilda | 3. Vintage French Enamel Coffee Pot $69 French Melody 4. 1970s Earrings $14.50 Villa Collezione | 5. NARS Nail Polish in Mint $20 Sephora | 6. Rivulets Quilt from $74.95 Anthropologie | 7. Chic It Out Heel $34.99 ModCloth | 8. Colorblock One-Piece Swimsuit $72 Nordtsrom VintageVilleMag.com | 52
Runway Roundup
P
meet our... WRITERS Lee Powell
I’ve been involved in the Rockabilly/Psychobilly scene since I was first introduced to the Cramps some 25 years or so ago and I was blown away by the distorted, primal rock n roll of their Smell of Female album. I was instantly smitten. In a time when rock ‘n roll was whitewashed chartfriendly fodder, it was like discovering gold. I have a huge passion for all things ‘billy’ and Teddyboy, and I’m fortunate to live my life immersed in all of that, all be it with a contemporary twist (it’s not the 50’s anymore guys – can you really live without the luxuries of modern life?). I’m fortunate to share my world with my wife and two young daughters. My eldest who is six can proudly explain the difference between rockabilly and psychobilly and loves Imelda May and rockabilly compilations (she makes dad so proud!). I adore 50’s styled suits, Teddyboy drapes, brogues and Creeper shoes and I have sourced a nice little collection of them all over the years. I spend way too much time on my quiff and looking at vinyl records, as well as trying to find that perfect pair of selvedge jeans and thinking about that next tattoo. Blog:www.cleepowell.tumblr.com
Peter Reum
The majority of my career has been spent in non-profit program management. I have also been an addiction/mental health counselor for the last 8 years, licensed in Montana. My background in vocational counseling and assessment of people with disabilities has served me well. I have written $1.1 million dollars in successfully funded grants. I helped found Santa Maria El Mirador Disability Services in 1970-71 in New Mexico, The University of Northern Colorado Vocational Evaluation Clinic in 1983, The Northern Colorado Center on Disability and Deafness in 1985, and helped found the Colorado Cross-Disability Coalition in 1990. I was the first addictions counselor in the Municipal Drug Court of Billings, Montana in 2005, and the White Birch Program of Rimrock Foundation in 2007. I consulted for the University of Northern Colorado Regional Rehabilitation Continuing Education program from 1992-1995. I spent 7 years in Developmental Disabilities Program Administration in Greeley Colorado from 1984 to 1991, rising to Assistant Executive Director for Administration. I was Executive Director of the Northern Colorado Center on Disability and Deafness from 1991-1995. My music publications include writing the booklet for and coordinating the visuals for the first Beach Boys Boxed Set, entitled The Capitol Years, and issued through the UK EMI subsidiary World Record Club. I assisted in the writing of and research of Capitol Records' The Beach Boys 30 Years of Good Vibrations Boxed Set with David Leaf in 1993. I also wrote a lead essay and contributed visuals for Capitol's The Beach Boys The Smile Sessions Boxed Set in 2011. Since early 2013, I have written a blog entitled Reuminations which may be accessed at blogspot.com. I also have numerous other publications in the fields of music, rehabilitation, and counseling.
Writer? Model? Photographer? You could be exactly who VintageVille Magazine is looking for. Check out www.VintageVilleMag.com for more information and submission guidelines.
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MODELS Ki/y Cadillac
Greetings from Pin-Up Model Kitty Cadillac! I am a vintage pin-up model who has been modeling for over 5 years now. As a pin-up model, I have always looked up to Bettie Page and Bunny Yeager. For the majority of my modeling career, I have been a rowdy red head, but I recently made the jump to being a blonde bombshell. Apart from constantly being asked if I'm Marilyn, I love being a blonde. We really do seem to have more fun! My pin-up name comes from my love of cats (I currently have 6) and my dream car – a pink 57' Cadillac. Along with being a vintage pin-up model, I specialize in selling 1950s clothing in my Etsy shop. I focus on vintage showgirl costumes and beautiful dresses! I look forward to what the future has in store for me in the world of pin-up! XoXo, Kitty Cadillac www.facebook.com/PinUpModelKittyCadillac www.etsy.com/shop/NaughtyKittyVintage
Claire Powell
I have been in love with the glamour of old Hollywood since I saw Marilyn Monroe in ‘Some Like It Hot’ as a young girl. As I grew up and delved deeper in to the past I found myself discovering a world of such beauty and excitement, from actresses and burlesque performers to the everyday housewife, they all looked so feminine and elegant. Now as a happily married Mum, I am living my reality as a ‘domestic goddess’ running my own business from home whilst spending every precious moment I can with my beautiful daughter and wonderful husband.
Sadie Grace
I'm Sadie Grace, and I'm just the girl next door living out my dreams. I keep that girl next door mentality and way of life that appealed to me since the beginning. With a bright smile, my head in the clouds and my two feet on the ground, I just hope I can inspire others to follow their dreams. Not bad for a girl who's just happy to claim that I gets to play dress up for a living.
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