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Tuesday, December 10th, 2013
Look, we’ve got a background in advertising, so it’s hard to watch commercials (we call ‘em “spots”) on TV without imagining what the initial presentation must’ve looked like for the creative team that presented it to the client. So this new minute-long spot (we call ‘em “:60s”) is a real mind-fuck for us.
A :60? That’s twice the commitment for any advertiser. Most of the time, a spot is half that (we call ‘em “:30s”) and then the standard fare is that the advertiser can’t afford running all those :30s, so they have us edit (we call it “cutting”) those :30s down to half that (we call ‘em “:15s”) and that’s why you’ll see really short versions of other normal spots that you’ve seen, like, two weeks ago. But a :60. And not just a :60, but a :60 that looks like a goddam major movie trailer.
And not only a major movie trailer, but a “World’s Fastest Indian” type of movie for gearheads that their girlfriends won’t mind going to see, as well. And all that to simply make an analogy between the idea of ‘commitment’ to a new flavor of Henn-Dog? Hey, Hennessy – just make the movie about Malcolm Campbell and his Blue Bird, already. You’ve gone ahead and started it and we’ll drink your shit all night long with the wanna-be ballers in the Champagne Room at Cheetah 3 next time we’re in Vegas if you just Malcolm-Campbell this thing. Swearzies. See that? It’s already working and we’re using Campbell’s name as a verb. But you gotta make the movie, first…
Thursday, November 21st, 2013
“You better get a girl and all your bullshit down here before this thing leaves the shop on Friday. You’ll never see it again…”
That was the call we got from Cole Foster on, like, a Tuesday. See, when this new film about the match race glory days of Don “The Snake” Prudhomme and Tom “Mongoose” McEwen was being shot, some of the guys’ real Funny Cars were used – The Mongoose’s Silver Anniversary ‘Vette, being one of ‘em. Turns out, the fiberglass body got knocked around a little and the thing needed some repairs before it went back to whoever was responsible for returning it just like they found it.
Now, not only is Cole a master craftsman, but he’s drag racing royalty: son of driver and builder Pat “Bananas” Foster and literally growing up at the drag strip, the man comes with the kind of baked-in trust and admiration from the grey-haired drag racing kings that can only be gained by putting in countless hours of sitting patiently in the cab of the car hauler while the ol’ man is partying in the motel room through most of the Seventies. And that’s why Don Trasin trusted Cole with fixing up one of the most famous dragsters of the Funny Car era.
The repair work and paint was finished, but we had a very small window of opportunity to find a girl, a bikini, a makeup artist, a hairstylist, the car keys and a photographer and get them all to the Salinas Boys shop and get out before the trailer showed up. Lucky for us, photographer Adam Wright was home from working overseas for a few days and he agreed to get help us get the band back together at Cole’s.
Not every day you get to crash so much great history together at one time and one place: Cole, McEwen’s complete dragster, Adam Wright, the Deadend Boys, Noah Greenberg, Susie and a few other random Salinas Boys showed up over the course of the afternoon at the shop. And our own Hip Hop video girl, Quania, crawling across the delicate flopper top made it all dangerous. This is the kind of shit that makes this calendar project so special.
And these are the days you don’t forget…
Special thanks to Quania Jones, Santana Espinoza, Bella Cristina for Archer Salon, Adam Wright, Don Trasin and always Salinas Boys
Sunday, November 10th, 2013
photo: Tiny Locas
Just days after our post on the Tiny Locas show (see below), we got one of those calls you never want to get: Nomad and good friend, Cisco Lastra, was on the other end of the phone with the news that Sandy Cuadra had passed away.
Not only was Sandy the voice of San Francisco’s Mission District for its residents who were here long before the hipster lumberjacks and Austin transplants jacked the rents some 4000% and started curating $40 artisanal whisky cocktails out of repurposed garages that once housed some of the West Coast’s best lowriders, but she was also heavily involved with the civic duties of the most colorful neighborhood of a damn colorful city.
We hope that someone else puts Sandy’s flag in the air and waves it like she actually does care. The Mission – and the city – needs to remember its roots while it continues forward.
Wednesday, October 30th, 2013
We’ve talked about this before, but one of the foundation underground movements that has shaped what car culture (and a certain element of witless hipsters) looks like right now was happening in Latin neighborhoods on the West Coast forty years ago. The Tiny Locas right here in San Francisco’s Mission District? Yep – they were part of it. And while one has to be very careful driving an old drum-brake car (like us) in The Mission these days because those skinny hipsters in the lumberjack beards and their girlfriends’ jeans tend to not watch traffic as they jaywalk with nose-to-iPad, the ‘hood is still hiding some tucked-away gems…one has to just look up from one’s iPad long enough to notice.
The world is so beautiful. It just has to be seen in the right light.
Friday, October 25th, 2013
In 1972, a 26 year-old blonde – the archetypal California Girl – posed for a photo that would bring hot rod culture, the world of flatbottom hot boats, pop culture television and the underground ‘adult’ scene together in one glorious moment.
Suzanne Somers made a career of being the ultimate ‘California Girl’ of the Seventies: bubbly, blonde, legs for days, can’t find a bra to save her life…the girl-next-door every baby boomer kid wished really moved in next door. Lucky for us right here in Nor-Cal, she actually was: born and raised just down the San Francisco peninsula in the airport town of San Bruno, Suzanne came of age among some of the great names of hotrodding and drag racing in the Sixties.
And by the time she reached her mid-twenties, Suzanne had some of the most memorable bit movie parts under he belt: the “blonde in the T-bird” in George Lucas’ “American Graffiti” and the topless girl in “Magnum Force,” to name a couple. But in 1972 – five years before “Three’s Company” would really make her a household name – Suzanne also posed for a photo that would become an underground icon for dudes all over the Seventies.
Wednesday, October 23rd, 2013
photography: Michael Schmidt
We’ve talked about this before, but we’ll say it again: underground motorcycle culture is at its best right now. It’s hard to pinpoint, but when Jason Jessee and his Black Tibetan were featured in a magazine in the early Nineties, the spark found a little fuel. Bring it up roughly 12-15 years later and Jason’s compadres – the Sinners Brotherhood Of Love And Friendship – presented that same aesthetic in ways that took hold of what the ad industry calls the “tastemakers” of the culture and it was a refreshing revolt against the bullshit bling-a-ling of the fat tire iron cross Walmart douchebag brigade that had taken over the chopper consciousness of the previous decade.
With Jason Jessee as its reluctant messiah, skateboarding had found choppers and a beautiful, energetic, prolific underground culture – complete with its own art, shows, music, style and uniforms – emerged. And really – there’s no other automotive scene that has produced more great stuff – custom shops, handmade apparel lines, parts brands, magazines, books, films, personalities and off-shoot sub-sub-subcultures than this one.
And photography. We’ve been fortunate to work with some of the earliest names in this scene, but one of the latest we’re huge fans of is Michael Schmidt. He’s done some really wonderful work for Matt and Dean over at DicE magazine, as well as some campaigns for some iconic brands, book projects, the list goes on.
What we love so much about Schmidt’s work is what we love so much about underground choppers: there’s a strain of authenticity to it that got lost in the bullshit of the fat-tire era. Sure, it don’t take but a few weeks to grow a beard and buy a 70s-era chop, but even then, the entire approach of this scene that Michael is working in is so much more about respecting its history, building and riding for the love of real freedom and staying way out of the mass media shitstorm.
Schmidt can effortlessly walk between the work of recording the world around him in his editorial style and the commercial work that puts the “pro” in professional photography. He knows how to make some beautiful images. We hope to see so much more of Schmidt’s work before that douchebag element of choppers ruins it. From what we’ve seen, he’s got about a year – we’ve seen the lineup for Born Free 6 and it looks like the times, they are a changin’…
Tuesday, October 22nd, 2013
We just took delivery of the 2014 calendar and if you already placed your order, we’ll start shipping soon. If you haven’t ordered yet, make sure you stock up – there’s literally tons of stunner metal in this thing backed up by a dozen girls you wish you knew a little better. Believe that.
To kick the year off right, we did two things: called Joe Hickenbottom about his killer ’65 Barracuda gasser, “Leggin’ It!” and then placed a call to photographer Jay Watson. As soon as both Joe and Jay gave in to our pleads, we hit up one of our favorite California Suicide Girls, Bob, to see if she wanted to spend the day with us on Joe’s ranch near Salinas, CA. Lucky for us, she didn’t have a better offer for that day.
Now, if you haven’t seen our particular style of hot rod pinup, you’ll be happy to hear we don’t carpet-bomb the land with the likes of the horrendous photos you’ll see on the covers of the ratroddish car magazines these days. Not really sure what happened to the world of pinup photography over the last few years, but yeeeeeeesh…it’s not good, friend. Not good.
Monday, October 21st, 2013
Images courtesy HOT ROD magazine, Michael Furman and RM Auctions
Neat post by Dan Strohl over at Hemmings this morning: the Dick Flint roadster – one of the most iconic hot rods in all of hotrodding hotroddom – is hitting the auction block soon. It’s dizzying to hear the names associated with one car: Alex Xydias’ So-Cal Speed Shop, Neil Emory and Valley Custom, The Rusetta Timing Association, the SCTA, Hot Rod magazine, Dean Batchelor and, more recently, the one and only Don Orosco.
In the light of history, the little track-nose Model A roadster is a near-priceless artifact. And what we love about it, probably more than anything else, is the cover of Hot Rod from 1952 (above): in an age of rigidly conforming popular culture, the magazine dared to let loose with a photo that we can only really describe as the visual equivalent of the Hollywood Wolf Whistle. Hard to find a good example of the main reasons guys built hot rods in post-war America, but the Dick Flint roadster is one of ‘em.
Now, on the other hand, RM Auctions and the folks who can afford the paddle on the auction floor are going to do their best to find exactly what the price actually might be for the car. It’s estimated that the Pebble Beach winner will bring more than the last post-war roadster with just as much of a pedigree: the famed McMullen ’32. Read more about the whole deal right here and let Strohl fill you in on it. What a world, huh?
Friday, October 11th, 2013
images courtesy Oilers Car Club/Race of Gentlemen
Last weekend and for the second year in a row, the Oilers Car Club put on its “Race Of Gentlemen” on the off-white sand of the Jersey Shore. And we haven’t seen a car show get this much attention since the heady days of Paso – Lord knows, we needed something like this in underground car culture.
Old cohort and schemer, Meldon Stultz, along with paint guru, Travis Hess and the rest of the Oilers have done a great job of pulling the attention away from the West Coast for a few days when they set up the old-tymey starter pylons – this year, on the beach of Wildwood, NJ – and go racin’ like it’s 1929. Taking advantage of the relaxed attitudes of Jersey Shore beach towns, the club has really turned the attention toward the Race because of the natural obsession that most of our own generation harbors: that custom car and hot rod culture is as much a visual experience as anything else and certain things should just be paid attention to, for chrissakes.
The cars look right, the race venue is set up to be visually spot-on and the folks who’ve fleshed-out the race for the second year in a row come era-correct, too. No cupholder lawn chairs, no bullet hole decals, no EZ-Ups crammed full of bright pink zip-ties, no true-flame demonstration tents…no shit. Just a great collection of old hot rods, spanning the earliest years of hopped-up four-bangers to pre-war hot rods and some vintage bikes thrown in for good measure.
One of our favorite aspects of the Race of Gentlemen is that it is truly a unique East Coast trip. Racing on the beach has long been owned by the Right Coast gearheads, but it’s changed over the decades into something, well, devoid of any good taste and style. But them Oiler boys have studied the old photos and books and magazines and just inherently know what hop-ups from the Twenties up through the early Forties should look like, sound like…feel like.
Thursday, October 10th, 2013
photo: Jaroslav Wieczorkiewicz
In our on-going pursuit of putting good pinup imagery back into the world, we submit this freakin’ GENIUS work by photographer Jaroslav Wieczorkiewicz: milk splashing against body parts to create the wardrobe in his recreations of classic mid-century pinup illustrations by the greats like George Petty, Al Moore, Alberto Vargas and others.
Since we’re fairly sure Jaroslav doesn’t have control of the God Particle, we totally understand why he had to create each of the milk splash duds with hundreds of photos of smaller, more controlled splashes, but that’s just part of what makes this project so amazing: the combination of planning and experimenting with a nearly-uncontrollable element makes for a beautiful image.
But, we can tell you from more than a decade of working in this space, it’s not just the technical aspects of this project that makes it successful. No, at the end of the day, the photographer still has to make a visceral connection with the model to make a compelling image. Pinup is part fantasy, part reality. And if the shooter doesn’t know how to leave the real world to connect with her in the fantasy realm, it just ain’t gonna work. No matter how good the lighting is.
But Jaroslav is not that shooter. He knows how to make a technically and emotionally beautiful image. Go see more of how he does what he does and we’re gonna try even harder to meet the bar he’s raised. Damn him.