'The Americans' –– Cold War Cool (If Looks Could Kill, They Probably Will)

(Originally posted for Vintage Fashion at Examiner.com.)

'The Americans', now in its second season on FX, is the only Cold War era spy thriller series on television. Here's what can happen: you begin to watch 'The Americans' for its early 1980's style and appeal; stay for the pacing and storytelling; discover you've become an avid fan of the series itself.

Having spent years poring over fashion from the late 70's & early 80's, in all of its understated elegance, I am happy to find any manner by which to pass the time in the early 1980's. Meanwhile, the first season begins with 'Tusk' and ends with 'Games Without Frontiers'. Even its musical bookends couldn't have been better.

 

In terms of fashion, the early 1980's was a unique time of classic and tailored looks. Form-fitting. There were no unusual shapes or colors. Everything was wearable. From office garb to weekend wear, these were clothes in which people could live, work and play. And for a pair of spies (Keri Russell and Matthew Rhys) living in the Cold War era, understated they must be, as they manage their covert affairs with great skill. They are not just a couple of spies; they are two excellent spies living as a married couple, with two very real children.

The early 80's were a transitional period and some remnants of late 1970's silhouettes were still in play. This depiction is also one of a conservative location and time, since the couple's home is in the suburbs of Virginia. We have characters working at the FBI HQ office; others who work for the KGB. The action happens in or around Washington, D.C., during the Reagan administration.

It is fascinating to see actors playing people who act in their daily lives as if they are 'normal', hoping their true abilities go undetected so they may infiltrate by drawing as little attention to themselves as possible -- overcompensating by being extremely casual in their manner of talking and walking. So casual, they're often too casual, and therefore strange. Factor in the multiple disguises they must wear for their various undercover tactics (they are spies, after all.) It's evident just how juicy the roles of Elizabeth and Phillip Jennings must be for Russell and Rhys to play.

As for the dream role of being the costume designer for the show, Jenny Gering has her work cut out for her. Anyone who has shopped vintage knows that while the most wonderful items can be found in vintage stores or by shopping online, difficulties can arise in finding that item in great quality or the right size. Having to do that for an entire cast for a series, including extras, would certainly be a challenge. But what a dream job. I could have only dreamed that another show might delve deep into period storytelling, taking us where 'Mad Men' has taken us before -- but within this other fascinating era, the early 1980's. Given all of their dramatic aesthetic changes, the 1960's and the 1980's are both of great interest.

 

Presumably, the show could cover further ground into the 1980's as long as it continues to be this captivating. (Here's hoping!) 'The Americans' could return for enough seasons to take us into the colorful, vibrant, BIG eighties.

For now, the subtlety that exists in the transitional early 1980's is what has kept me transfixed. And the quiet, stoic pacing of the series ties incredibly well with the covert lives of its characters, making 'The Americans' an altogether streamlined, distinguished, and deeply exciting experience.

Cats In Films (Year Of the Cat) -- VIDEO

I'm someone who is generally considered a 'cat person'. I would take it farther, however, in that I respect all species equally; I am entirely against speciesism. But yes, I am a cat person.

After seeing 'Inside Llewyn Davis' last month, and falling deeply for Ulysses the cat who I consider the hero of that Coen brothers film, I had an inkling to piece together a (hopefully) beautiful and especially respectful tribute to cats who've appeared in films. I immediately knew I'd want to use Al Stewart's song 'The Year Of The Cat'. As a music-and-film-driven videographer who loves cats, and also loves that particular song, this was all an inevitability.

After gathering all the media I could find, I created the video over the course of a few days. I wasn't entirely satisfied when it was completed last Sunday. But I waited, then shared the video on my social media channels on Monday. This video meant a great deal to me, so I asked and practically pleaded (for the first time, ever) for friends to watch and share. A few did and I was appreciative for their support of my efforts (as this sort of 'super-cut' video does take some effort!)

By Tuesday afternoon, I noticed the views were creeping up slightly. And faster. I found out Tuesday night that the video had been posted on Neatorama, which was a wonderful surprise. By Wednesday, in the early afternoon, I discovered that Slate.com had picked it up as well (via Neatorama.) An even bigger surprise. I'm happy the video has gotten some traction since it was meant to be seen and enjoyed by other like-minded cat lovers. I hope it might even instill a sense of respect for all species, somehow.

Here is my celebratory tribute to cats in films –– 'Cats In Films (Year Of The Cat)'.

Vintage Ads: How Sanderson's Home Decor & Wallpaper Brand Appealed To The 'Me Decade'

Sanderson is an English wallpaper, interior design and decorating company. It is the oldest surviving English brand in its field. The Sanderson brand is known for its coordinated fabric and wallpapers.

In the 1970's, Sanderson's print ads included a series featuring some famous Brits and one Swede, Britt Ekland, who was also a resident Brit. The ad copy says simply: 'Very Britt Ekland, very Sanderson.'

Ekland's ad is from around 1973. She had yet to appear as a Bond girl and would soon play Mary Goodnight in 'The Man With The Golden Gun', which was released in 1974. Other ads from this print campaign feature Ekland's fellow Bond girl, Diana Rigg (the only Mrs. Bond, Tracy Bond, in 'On Her Majesty's Secret Service' in 1969); the singer and actress Petula Clark; and famed British chef Robert Carrier.

The standard in 1970's home decor entailed matching one's wallpaper with fabrics, like the curtains and sofa covers. Sanderson had enough clout to suggest a connection between its brand name and a one's ability to decorate his or her home to reflect a distinctive style.

If a home is 'very' someone, but also very Sanderson, this indicates Sanderson values (and can accommodate) each person's unique design preference. In the midst of the 'Me Decade', the idea of a brand being able to cater to one's individual taste had to have been a novel and appealing concept. Which is why these Sanderson print ads are a strong time capsule. They capture not only the look and feel of the 1970's, but also a concept that Sanderson, as a company, perceived to be desirable to the people of that era.

Music From The 1980's That Dazzled Me In 2013 (A Strange Year-End List)

This is a very different sort of year-end list. 

As they say, what's old is new. The 'Retro Active' outlook with which I began this blog is my standard. Still, 2013 stands out. It was a year of 1980's (re)discoveries that felt incredibly fresh & vibrant. Some of these I already knew but hadn't seen or heard in a while; some I'd yet to experience. Each has made an imprint on my life & I'm happy to carry these gems with me into 2014 & beyond.

6. The Belle Stars | Sign Of The Times

People talk about girl power. This band is comprised of girls, girls, & more girls. There are so many ladies working together in this group, it's impressive. This song should've had more airplay, stateside, back in its day. (I'm not sure it did.) Glad I've begun to enjoy it now, I've listened to it at least 30 times. (I have some catching up to do!)

5. Banarama | Aie e Mwana

According to the Guinness Book Of World Records, (their Wikipedia page has pointed out), Banarama still holds the title of all-female group with the most chart entries in the world. I did not know that! I also did not know their first hit 'Aie e Mwana'. This one I heard on iTunes Radio, a recent godsend for new discoveries. The lyrics –– aside from the title (which is said to be nonsense) –– are sung in Swahili. The intro is long, but it's all so worth it. Listen & enjoy. 

4. Adam Ant | Strip
I'd somehow forgotten about this! I'll remember it from now on. 

3. Talk Talk | Life's What You Make It

This 'bass piano' knocks me out. The song just floors me. Who focuses their bass on piano? Works really well for the mood of this song. ('Everything's all right.') And the video is beautiful.

2. Heaven 17 | Penthouse and Pavement
This next one was a thrilling discovery for me –– again, first heard on iTunes Radio. I've enjoyed many Heaven 17 songs, but their 'Penthouse & Pavement' was new for me in 2013. Now it's my favorite of theirs. I'm not sure how many times I've listened to it by now; it gets better every time. I'm baffled (and dazzled) by the fact that this is from 1981. This band was ahead of its time. The video also captures the early 80's mood very well. 

This TV performance of 'Penthouse & Pavement' is also worth watching. I suppose they had to have a fill-in for the female vocalist whenever they performed it (the original singer was a session performer.) When I first saw this video, I was blown away by the fabulous gal who performs with them –– she's so charming –– so I was a little disappointed to find out she isn't the actual singer. But it's fun to watch her OWN the song during this performance.

1. Wham! | Ray Of Sunshine

When I listened to my Wham! Fantastic cassette tape as a kid, I'd often fast forward and rewind to listen to a few songs in particular. I enjoyed 'A Ray Of Sunshine' –– just not nearly enough. I heard it after having had quite some time away from it in 2013. This tune is so sadly overlooked –– and it's rare to hear it anywhere. It didn't even appear in an extensive Wham! karaoke song list, I recently discovered –– but again, iTunes radio was my friend in 2013 & there they played it. Since then, I keep listening to it and loving it. It's made it's way into my all-time favorites list. 'Ray Of Sunshine' is literally, very possibly, one of my Top 10 favorite songs of all time. What a huge leap this song has made into my heart :)

I have to include this video, with footage from the Wham! film 'Foreign Skies' set to 'Ray Of Sunshine'. No other piece of media in 2013 (aside from the many, many adorable videos of non-humans) charmed me quite as completely –– and utterly –– as seeing this! 

I should add that in 2013 I watched three very significant movies from the 80's for the very first time in their entirety: 'E.T.', 'Poltergeist' & 'Gremlins'. I also watched 'A View To A Kill' in its entirety after not having watched it for many years –– and realized how worth revisiting that Bond film happens to be (much more on that soon!) 2013 certainly was a good year to be inspired by the 80's.

New Year's Eve Is Real & Inclusive –– & Why Chariots Of Fire Is A Quintessential NYE Movie

New Year's Eve has gotten a bad rap for a long time. People often complain that they don't have exciting plans for the night, or grow despondent if highly anticipated plans prove lesser than they had hoped. Some feel like being alone on New Year's Eve is indicative of personal failure. It's all a matter of perspective. Just remember: In the midst of all the holidays that pass during the fall-winter season, this is the only one that is inclusive and universal. It is 'real'. New Year's Eve bears no real conflict for anyone, in truth. No politics or religious denominations. No questionable history.

Despite the fact that some parts of the world celebrate a different calendar –– and therefore a different day that signals the new year –– everyone can relate to that transition. Whether your year has been a good one, or a difficult one, (for some it may have been one they can't wait to leave behind), New Year's Eve is a day for everyone.

Whether you're surrounded by friends and family or spending the night entirely alone, it is your night. It is everyone's night. Make the most of it in any way you can. It's a night to celebrate. Or reflect. Whichever makes sense in your particular predicament.

Two years prior, we wanted to spend New Year's Eve relaxing at home. The plan was to watch a movie and play board games. By happy accident, I had a craving for one film: 'Chariots Of Fire'. That was my movie pick, so we watched it. And by 'happy accident', I mean I had no idea when I chose 'Chariots Of Fire' that I'd soon consider it the quintessential New Year's Eve/New Years' Day movie. Every aspect of life –– and what drives people in living it –– is represented in 'Chariots Of Fire'.

Lord Lindsay

Harold Abrahams

Eric Liddell

If you are like Eric Liddell, you feel a sense of purpose and you're driven in life by a power you consider greater than yourself. You are running for what you consider to be your God, whatever you aspire to. If you're like Harold Abrahams, you are running to prove something to others –– you are running because of the shear force of competition. If you're like Lord Lindsay (Burghley), you run because you are privileged enough to do so, and only because you can, which minimizes a sense of purpose in your efforts. But whichever force is driving you to be part of the race, you are in it.

The real Eric Liddell

The real Harold Abrahams

The real Lord Burghley (Lord Lindsay in 'Chariots Of Fire')

Of course, there are also those on the sidelines. There are the cheerleaders and supporters. And there are the coaches. Whichever role you most identify with, there is no denying the strength of 'Chariots Of Fire' in capturing the way we exist by way of running (or standing by to watch) our own particular heat in the game of life.

And I can attest that it is a uniquely inspiring experience to watch this movie –– one that is as unfairly and oft-derided as New Year's Eve itself –– as you transition into the new year.

Christmas Special | Movie Style: On Her Majesty's Secret Service (1969)

'On Her Majesty's Secret Service', released in 1969, is arguably the very best film of the entire franchise for countless reasons. The focus here will be on giving a rundown some of the great styles that are worn in the film. A good deal of the plot occurs during Christmastime –– and the designs  captured in 'On Her Majesty's Secret Service' are the epitome of late-1960's fashion sensibilities.

Lady In Distress (In THAT Dress)
Diana Rigg, as Tracy, first appears wearing a beautiful mermaid-like sea-colored, paisley-pattered sequined gown with bell sleeves. The dress shimmers in a scene that occurs on a beach at night while Tracy is in danger. Bond, wearing a white shirt and tuxedo trousers, saves her life -- and their fates are sealed forever.

Suited & Booted, Beaded & Needed
'Why do you insist on rescuing me, Mr. Bond?' Bond's next encounter with Tracy occurs in the hotel casino where they are both staying when he bails her out. 'Tracy, next time play it safe, and stand on five.' She counters with, 'People who want to stay alive play it safe.' Lazenby's Bond feels a genuine concern for this doomed lady. 'Please stay alive… At least for tonight.' In this scene, Tracy wears a white dress, its shoulders and low neckline intricately beaded with small white pearls. Bond wears a sleek and classic tuxedo. His white shirt has front ruffling that would soon be more common for tuxedo styles in the 1970's.

A Leisure Suit, Tweed & Dual Equestrian Styles
Tracy's father, Draco, asks Bond to marry his daughter -- to help keep her grounded. Bond is reluctant to make such a personal deal, but information from Draco can be useful in tracking down the whereabouts of his nemesis, Blofeld. When Bond has this discussion with Draco, he wears an actual leisure suit. It is a dark tan-colored leisure suit and he wears an orange mock turtleneck underneath. This is a very neat, late-1960's transitional look. Next, Bond joins Draco at his birthday party, where Tracy insists that her father gives Bond the information he needs without any more talk of marrying her off to him. From that point on, Bond and Tracy fall in love with one another legitimately, without ulterior motives on either side. In this scene, Bond wears a tweed jacket to top off his equestrian style, complete with riding boots; Tracy wears a high-collared white lace shirt with a black riding suit, hot pink cummerbund-like belt, black hat, gloves and boots.

'We Have All The Time In The World' Sequence
'On Her Majesty's Secret Service' is in many ways the epitome of the Bond franchise. The action sequences. The cinematography. The aesthetics, from the the cars to the buildings, to the interior design. Peter Hunt's impeccable direction. George Lazenby -- who played Bond only once but left a lasting impression. He is the only 007 who looks and behaves not like an actor playing a spy, but instead like a capable man who could have actually been a spy in real life. Diana Rigg -- the only Bond girl to become a Mrs. Bond -- who was already beloved at the time for having been Emma Peel. Telly Savalas as Blofeld. John Barry's musical score, Louis Armstrong's beautiful tune. The locations. The fashion from 1969.

And the romance –– which is unlike any other in the series, since James Bond actually marries Tracy. The sequence that follows Draco's birthday is also unlike anything that's ever occurred in the Bond series. We see glimpses of James and Tracy's blossoming love to the lovely sound of Louis Armstrong's 'We Have All The Time In The World'. Immediately following the sequence, during which the new couple shops for an engagement ring, Bond, Tracy and Draco share a car. Draco sits awkwardly and cramped in the middle as Tracy and James look at each other adoringly from either side of him. The chemistry between Lazenby and Rigg in OHMSS is palpable. Tracy wears a 20's-inspired ensemble of yellow tweed, complete with silk scarf and a smart hat. James wears another beautifully tailored gray suit with light blue-gray shirt and a black tie. When they drop 007 off, he says: 'I'll get cracking on this appointment and catch up with you later.' Tracy, casually and amused: 'The story of our life, James?' James: 'Just keep my martini cold.' There is an easiness and casualness to their rapport that lends to their wanting to be married to each other. It's touching, and believable.

During the sequence, Tracy wears an ice blue mini dress while James wears his tuxedo; Tracy wears a white, light green and yellow color block mini-dress while James wears a navy inspired military-style blazer with gold buttons, navy tie and khaki slacks; Tracy wears a light pink mini-skirt suit with a purple scarf and light pink hat while James wears a beautiful light gray suit as they shop. Throughout the sequence, in each moment together, James Bond puts his arm loving and adoringly around Tracy's shoulders. It is the most romantic sequence in all of cinema. At least in this Examiner's estimation (and it would've been perfect, except for my wanting to hug -- and free -- the adorable bears who appear very briefly in a zoo at the very end of the sequence.) 'Nothing more. Nothing less. Only love.'

A Spy In Disguise, The Angels Of Death & Christmas At Blofeld's
In OHMSS, Bond goes undercover. He poses as genealogist Sir Hilary Gray in order to get close to Ernst Stavro Blofeld. For these scenes, Bond amusingly dresses in Sherlock Holmes style, complete with caped wool coat, tweed cap, horn-rimmed glasses and pipe. He also assumes a stuffier British accent. He dresses for dinner in his (Sir Hilary's) proper Scottish Highland dress with kilt -- where he meets the beautiful patients at Blofeld's 'allergy-research institute'. Each one is lovely and they're dressed as if they've walked right off of a runway, in silks, beads, jewels, brocades, pearls, bright colors. The interior of the institute looks like the most elegant ski resort drawing room. Bond might be in a pickle, surrounded by these incredibly lovely, vulnerable ladies (not only accessible, they're more than willing) while he's engaged to the loveliest of them all. And Tracy is far away at the moment.

After a couple of trysts (this is Lazenby's Bond, after all, not poor Dalton's) Bond's cover is blown, the 'angels' are hypnotized and sent off to perform their actual missions, and Bond is left to spend Christmas with Blofeld and his henchmen. During some of the scenes, Bond wears a tan cardigan, tie and slacks. Another timeless men's look. During his getaway, Lazenby as Bond dons a chic blue ski suit, and his stunt man performs perhaps the most incredible ski chase sequence in the history of film set to John Barry's incomparable score. He's rescued by Tracy at a skating rink. Tracy is dressed in a caramel-colored skating ensemble, with matching quilted headband. After spending a night getting reacquainted in a shack, James and Tracy make a run for it (or ski-for-it to be exact); James wears the same blue ski suit from the previous day and Tracy maintains her color-coordinated wardrobe by wearing a caramel-colored ski suit. Tracy can keep up with James as they race away on skis, which is yet another testament to their being a perfect match.

Attack At Blofeld's & Tracy's Rescue
The furs worn in OHMSS would be nice if replicated using synthetic materials. The first one is Tracy's coat when she rescues Bond; she wears it over her caramel-colored skating outfit. And one truly worth noting is Tracy's leisure outfit when she is held captive by Blofeld. It's an all black ensemble, save for the gray trim (a replica of this look would be nice with fake fur) along the neck, hood and sleeves. Blofeld tells Tracy before taking and kissing her hand: 'Now, if you're very, very nice to me -- I could make you my countess.' Tracy replies, taking her hand away: 'But I'm already a countess.' Blofeld, irritated by her insolence: 'Whereas if you displease me I can promise you a very different estate.' When Tracy realizes 007 and her father are on their way to rescue her, she feigns interest in Blofeld, just until the attack. During the attack, Tracy, a.k.a. Diana Rigg, demonstrates her Emma Peel-like fighting skills and holds her own against Blofeld and his men.

All of the action here is superb, again. And it all ends on a happy note when an adorable St. Bernard pads over in the snow, drops and rolls next to James Bond to offer him his hand in affection. 'Never mind that,' Bond jokes. 'Go and get the brandy, huh? Five star Hennessey, of course.'

A Beautiful Wedding & A Most Tragic Ending
James Bond parks his Aston Martin DBS in front of the jewelry store. He wears a sky blue suit. He chooses the ring he and Tracy had eyed before, a unique band of silver and gold melted into each other. The ring was designed for the film -- and it actually spells out 'All The Love In the World'.

For his wedding, James Bond wears a black morning coat over gray waistcoat with matching gray trousers, light gray silk tie, and a white carnation in his lapel. He also has a bowler hat. Tracy wears what appears to be a dress entirely of a daisy motif lace, with a white gauzy chiffon coat over it; however, she does not marry James Bond in a dress. The lace beauty she wears is, in fact -- and incredibly -- a wide-legged trouser jumpsuit. She is a very modern woman. For Diana Rigg to be married in a jumpsuit on film, at that time (and the jumpsuit is only evident in publicity photos, not in the film) would have surely been an ode to Emma Peel -- with her iconic jumpsuits -- as well.

It is painful to watch the final moments of this film. Any couple, especially one as happy as James and Tracy, should have the chance to live an entire lifetime to love one another. Indeed, they should have had all the time in the world.