August 10, 2012

PLAYBOY BUNNY DEANA & SWINGING LONDON

Our guest today is Bunny Deana, who worked at the London Playboy Club from 1969 to 1972. Soon after donning her cotton tail, Deana was crowned Bunny of the Year by James Bond actor, George Lazenby (On Her Majesty's Secret Service). In her three and a half years with Playboy, she worked as a Cocktail Bunny, a Croupier Bunny, represented the London club internationally, and was photographed for Playboy- experiences which are the subject of her fun and informative Photo Album website [see images below], where visitors can see cool artifacts and read about her Playboy days. Welcome Bunny Deana and thank you for chatting with us about Bunny-business, the Playboy image, and Swinging London!


Before you became a Bunny, what did you envision the Playboy lifestyle to be?

I thought at the time that it would be so much more interesting than office work and typing! (I was working for a publisher of scientific books in Central London at the time.) Frankly, I have to admit the money on offer was a big part of the original appeal. As I recall, the salary was about four times the equivalent of a regular office job. Also, the Playboy Club's address was an interesting element, being in very swanky Park Lane and so close to iconic London locations like Hyde Park and Marble Arch. In 1969, when I first considered working at Playboy, the London club had only been open for 3 years, and I had never been there, so I guess in the beginning I was inquisitive and wanted to know more about it.

How did you find out about the job and what was the application process like?

I was living in a small town about 20 miles from London and commuting daily to my job there. Strange as it may now seem, I simply saw a job ad in the London Evening Standard newspaper, with wording something like “Have you got what it takes to be a Playboy Bunny?” I’m pretty sure it was only necessary to call a telephone number to make the initial contact. I was a bit nervous about applying on my own, so I persuaded two of my then colleagues to apply as well so we could all go together and give each other courage. We were asked to bring a swimsuit to change into, so it was obviously not going to be your normal type of interview! The interview really took very little time, I remember. I think it was mainly concerned with how you looked in a swimsuit, plus did you have the ability to absorb the training and the stamina to work reliably within a 24-hour shift routine. I was the only one of the three of us to be offered a job and I accepted immediately. The reasons my two friends were given for not getting in were that one was too short and the other needed her front teeth fixing. You can imagine how they felt, but luckily we remained friends!


There were a number of specific guidelines for you in terms of how to serve food and drinks. How was your “Bunny Dip”? Was it hard work physically? [Bunny Dip image above from British Pathe]

The Bunny Training was actually fantastic because it was so totally different than anything I had ever done before. It was very intensive as there was so much to learn, and it lasted about 3 – 4 weeks. Learning food and drink service for a regular bar or restaurant, while still challenging, would not come close to matching the extremely specific and rigidly applied routines and procedures that characterized the Playboy philosophy. The Playboy Bunny Training Manual (I still have my own very precious copy) runs to 52 pages. I’m looking through it right now, and you know what, I’m pretty amazed that I actually managed to learn and remember everything! I talk about the Bunny Training Program in more detail in my website. [Chicago Playboy Club image below from Life Magazine]


The Training Bunny, Dawn, was very likeable and funny and she patiently (well, maybe not always that patiently!) took us through the instruction and coaching day after day until it all became thoroughly and completely ingrained in us.  This was absolutely crucial because no new Bunny recruit would ever be allowed to go “on the floor” for her first real shift unless she was capable of producing a pretty-much faultless performance. For example, a Bunny was instructed never to lean forward across the table in front of the guests. This was considered to be unflattering and the potential cause of inappropriate comments or behaviour. This was the reason for the famous Bunny Dip. It was a side-on, slightly backward-leaning stance which enabled the Bunny to present food and drinks to the table in a cute, eye-catching yet polished and professional manner. I found it quite easy to master and it quickly became, like so many other Bunny procedures, entirely routine and second-nature. Another little detail was that a full ashtray (remember the days when you could smoke in public places?!) had to be covered with a fresh one, both lifted together on to your tray, so that ash didn't fall on to the table, and then the clean one returned to the table. Simple, efficient, yet something I had never had to consider before. Now I was doing it 8-hours a day, round the clock, and smiling sweetly the whole time – a model professional!


Did you have to make conversation and entertain guests? Hostesses in Japan, for example, often have to sit with guests, pour drinks, and spend time chatting with them.

I personally was always chatting with my customers. I was, and still am, a naturally friendly person and there’s nothing I like better than talking with people, especially those I have never met before. I believe you learn so much, about people and the world, by doing this. As Bunnies we were allocated our own station, which means we were in charge of a number of tables. I would have been totally responsible for the smooth running of my station, and with the help of the Bus Boys, we kept it very clean and tidy. There were explicit rules in the London Club that you should not become overly familiar with your guests. But as we may all know, this was not necessarily what always would have happened. I have recollections here about colleagues that may have to wait for another occasion…

We were not allowed to sit with guests or pour drinks for them, and most definitely not accept drinks from them. On my website you will see a number of photographs of me sitting with guests. However, these were always taken by our official Photographer Bunny, (a really beautiful girl named Rema) whose job it was to encourage guests to pay for a souvenir Polaroid. I’m so pleased that many of the guests handed me the photographs to keep. They are a unique and irreplaceable record of a little piece of history. Actually, some of the photos have names and phone numbers written on the back, but remember the rule about over-familiarity!


I see great photos of you in different styles of Bunny dress (red and black satin, floral/paisley, etc). Were there themes at the club that required different versions of dress? Was there freedom to wear different variations of the basic swimsuit design?

We were encouraged to exercise our own personal choices and tastes for our Bunny Costumes. There was quite a wide range of patterns and colours of material available. When we saw something we particularly liked the look of we would ask Gwen, our wonderfully talented seamstress, if she would run a costume up in that material for us. All the Cocktail Bunny costumes were the same basic design, while the Bunnies who worked in the VIP Room had blue velvet with silver edging. The only variation was the costume for the Casino Floor, which was a very short micro-dress with a filled in bib-type front to protect your modesty when leaning forward over the gaming tables. I believe this may well have been a requirement of the British Gaming Board.


Soon after joining Playboy in 1969, you were crowned Bunny of the Year by George Lazenby (James Bond/On Her Majesty’s Secret Service). He has said in interviews that this was quite a swinging era for him. Did you get to hang out with George at all?

I had no idea who the judges were going to be and I was amazed when I won the competition. You see, I was working my regular shift, and Jeanette, the Bunny Mother, casually came up to me asked me to go up in the lift to where the competition was being held and "make up the numbers". I am sure there were several others who were also very surprised at the outcome, as I had only been there for barely six months. There were other girls who were much better known than me in the club, and I know for certain that there were one or two who confidently expected to be the winner.

I have to admit that I didn’t really know who George Lazenby was just then. Although we didn’t realize it at the time, we in Britain had already seen lots of George, flexing his muscles in TV commercials for a chocolate bar! But for me at that moment, James Bond was Sean Connery, and I think On Her Majesty’s Secret Service had only just been released and I hadn’t had time to see it. The photographs of me with George were taken in a private room soon after the final judging. I was still in an absolute daze at what had just happened, and it’s only now, when I think back, that I recall George looking immaculate and behaving in a beautifully professional and gentlemanly manner. I shared a glass of champagne with George, but then I seem to remember “his people” whisking him away soon afterwards.


Did you fly on the Big Bunny to the international Bunny of the Year Pageant in the States? Those Jet Bunny outfits were so cool. Did the plane really have sections for games and recreation? [Deana above at far right]

The Big Bunny Jet came to London with Hugh Heffner and his then girlfriend Barbie Benton, amidst great excitement at the club and a few Bunnies, including me, were taken to the airport for a photo shoot. We went inside the jet and there was a large, very prominent round bed taking up almost all of the interior space. Unfortunately we didn't get to fly in Big Bunny. For my flight to America to compete in the first International Bunny of The Year competition, I flew first class with PanAm in a superbly impressive 707 Jumbo Jet. Just imagine that, my first-ever flight and it was 5000 miles trans-Atlantic, sitting up front with free champagne and gourmet meals: what an amazing, dream-like experience for a young girl of just 21!   


How was it being with all of the other international bunnies at the Chicago Playboy Mansion with Hef? Was it a non-stop party? [Deana above at Hef's left]

It was tremendously exciting and we were together as a group for almost 2 weeks. Perhaps surprisingly there was no actual party at the Playboy Mansion with Hef. He was not really very visible for most of the time we were there. I would say that he was very discreet, but always looking for suitable material for his magazine. What we did have, of course, were the obligatory photo shoots, and a couple of days relaxing and opportunities to explore the fabulous city of Chicago. We were all staying at the Ambassador West Hotel, though we did enjoy drinks in the bar at the mansion. My abiding memory here is of the enormous wall of glass, which gave underwater views of the swimming pool. I just could not imagine how many more incredible experiences I was going to have. And no, I didn’t jump in the pool, but I wish I had! Soon, though, it was all change again and on to the Playboy Resort at Lake Geneva, Wisconsin, the venue for the International Bunny Pageant.

What did you have to do to compete in the pageant? Were there different categories?

We spent about 10 days preparing for the pageant. Some of it was spent rehearsing a brilliant musical number that would open the show. It was a specially adapted version of the song “If My Friends Could See Me Now” from the hit show, Sweet Charity. We sang "If you could see me now here at the Playboy Club". During free time, me being a country girl at heart, I spent many happy hours going horse riding, walking in the glorious lakeside surroundings, and marvelling at a snow-making machine! I had never seen such a thing before.

On the night of the actual show, we sang our song, and then we did the standard beauty pageant things of parading up and down on the stage, and being individually interviewed. The judges included Bill Cosby and the English international model Jean Shrimpton. We had a wonderful gala dinner just before the pageant, and I sat next to Jean. Eventually came the final judging and I was placed Third Runner-Up. Out of a total of 18 contestants, I was pretty pleased with that! The well-deserved winner was Gina Byrams, an absolutely stunning girl who truly epitomized the maxim of the era, “Black is Beautiful”.

Hef is famous for being a great film fan. Did he treat you all to a screening at the mansion while you were there?

My major impression of Hef was that he had his own close-knit circle of friends and associates whom he could trust, and he appeared to keep himself very much to himself. If he did have any film screening at the mansion, I didn't know about it. The girls in the competition mostly stuck together in a group and we thoroughly enjoyed our time in each other’s company. I think we all probably realized this was something very special that was unlikely ever to be repeated.


Swinging London conjures up images of The Beatles, Tom Jones, Michael Caine, David Hemmings, and others. Who were the kinds of people that frequented the London Playboy Club? Tell us about your Swinging London.

I was originally from Nottingham (the home of Robin Hood!) about 125 miles north of London. In 1969 I had left home and was living in a small town about 20 miles out of London, commuting into the city every day for my job in the publisher’s office. When I secured my place on the Bunny Training Program at the Playboy club, I immediately moved to a small but very comfortable studio apartment in Knightsbridge, close to the world-famous department store Harrods, and just down the road from the club in Park Lane.

It was something very special to be there in the sixties. London felt thrilling and exciting, yet safe and secure at the same time. I mean, my little flat was only about a 20-minute walk from the club, and quite often, even at night, I would have no worries about walking through the streets on my own. I was earning maybe four times what I had been previously, so renting a flat in super-cool Knightsbridge was no problem. It's funny, but in the same street where I lived then, flats today cost a minimum of around $1.5 million and up. I rented my flat in 1969 for the equivalent of about $20 a week. Oh happy days!

There were many celebrities who frequented the club, including those you mentioned. In addition, I specially remember movie star Raquel Welch, who specifically insisted that she would not be photographed next to any Bunnies as they would be taller than her! Perhaps I can claim the excuse of being young and naïve, but I recall speaking to Michael Caine and telling him that I hadn’t really enjoyed his film, Alfie. [contact sheet of Caine by David Bailey below from Christie's]. Then there was the time I told John Cleese that I didn’t really find Monty Python’s Flying Circus very funny. How embarrassing I must have been then! 


During that era, did you get to see some of the great bands play in London? And was there ever live music at the club? 

The biggest and best occasion I can recall of watching great bands play in London is the one where upwards of a quarter of a million others also watched: the legendary free concert in Hyde Park, just a short walk across Park Lane from the club, on July 5, 1969. The Rolling Stones headlined, of course, but there were many other incredible bands and artists that day. [The Rolling Stones concert followed the passing of Brian Jones. King Crimson was also on the bill]. Certainly an event never to be forgotten, and I'm glad I was lucky enough to be in the right place at the right time. There was indeed live music at the club, in the Cabaret Room, but unfortunately I never worked in there so I didn't get to see any of the artists who appeared. I do know, though, that the entertainment was generally of the typical "cabaret crooner" type that was popular in late-night venues of the 60s era. Sammy Davis Jr was a visitor to the club on a few occasions, and I do recall gossip that claimed he had entertained the crowd to an impromptu performance when he was there in the audience, just enjoying a drink. Sammy being the enthusiastic entertainer he was, it would be very easy to imagine that being true.


Am I right in thinking that it was a rule that Bunnies weren’t allowed to date guests at the club? I imagine that you were asked out every day by admirers. How was it balancing the excitement and youthful energy of Swinging London with the rules of the club?

Yes, Bunnies weren't allowed to date guests, nor even fellow employees. In fact, Rule 12 of the official Employee Rules & Standard of Conduct guide – I have it open on my desk right now – states clearly that ‘Undue familiarity of any sort’ and ‘Dating and social activity is not permitted’. But some Bunnies did date the guests and work-colleagues, and some even got married. I myself was already married, from the year just before I became a Bunny, and as we were not allowed to wear any jewellery whilst working (except for the Bunny Service Award Necklace and Bunny Head Pendants, 1-year and 3-years which I had) I had to leave my engagement and wedding rings in my locker. I found it easy just to refuse politely any offers. There were a number of other girls who I knew were also either engaged or married, and you could enjoy the youthful energy of London at the time as couples, together with the wonderful benefit of living in a great city and exploring many new places.


What did your husband think about your work as a Bunny? Did it make him jealous to see you working in costume around strange men each day?


The best way to answer this question is to ask my husband right now, as we are still happily together after 44 years! He confirms what I already knew: he says he was, and still is, incredibly proud of being married to a real-life Playboy Bunny. He came to the club a few times while I was on duty, sometimes with work colleagues, and his work mates were jealous of him, being married to a Bunny! Strong relationships are built on mutual trust, and that is why we are both able today to look back together at those times with fondness and pride. 

I’m curious, how did a Playboy Bunny spend her time off in London?

For me it was all about exploring and enjoying the almost limitless opportunities offered by the wonderful city of London. Remember, I had been here for only a few months, so everything was just so exciting, so new, and so very different. In addition to the countless historic sights, like Buckingham Palace, Tower Bridge and Hyde Park, supreme West End theatres, world-famous museums, galleries and so on, evenings off also presented endless possibilities. One of the many benefits of being a Playboy Bunny was the unofficial “mutual network” that enabled friends and associates, who worked in similar London clubs, nightspots and venues, to facilitate entry to places that would normally be inaccessible or members-only. Put simply, we all helped each other to get the most out being part of the Swinging London scene. 

It will come as no surprise to hear that shopping was a major pastime of mine then. Carnaby Street, in the heart of Soho, was wall-to-wall with clothes shops, all full to bursting with – in the popular slang of the era – “clobber”. To get some idea of what clothes looked like then, study the album sleeves of British pop bands of the period. The Beatles, The Who, The Kinks and many more all helped to create that quintessential 60s look. Ex-military coats and jackets, garish matching paisley shirts and ties, crushed velvet flared pants in lime green or bright orange (for guys just as much as for girls) and a special favourite outfit of mine – tiny yellow suede hotpants with a matching waistcoat, worn with white “wet-look” patent leather knee-high boots (the style was widely known then as ‘Kinky Boots’ and often featured in The Avengers on TV) -- nothing was considered too ‘way-out’. The street markets in places like Notting Hill and Petticoat Lane were amazing spots to seek out bargains, meet friends, swap gossip and just hang out. It was so wonderful; I get very nostalgic just thinking about it.

People often think of the Sixties as a time of change and liberation. Looking back, did you ever feel empowered or exploited working as a Playboy Bunny? 

I never felt exploited but definitely empowered. Through earning a good living there were many more choices I could make than ever before. As I mentioned above about the “London Network” that we built up, I felt I was a privileged member of an exclusive society that really could have it all. Playboy helped to make this possible, so it was absolutely a time of special freedoms and opportunities.

Did you find the excitement you were looking for when you first joined?

You know what, when I made the application to be a Playboy Bunny, I really didn’t know what I was looking for or what to expect. As I said earlier, the prospect of a significant boost in earning power was definitely a factor, but I can’t really say I was solely looking for excitement. (However, the likely difference from working in a scientific books publisher’s office would have been fairly obvious to me even before my Playboy interview!). So much happened for me, so soon after becoming a Playboy Bunny, that I don’t think I had time to stop and look and take it all in. For example, very soon after I started I was asked to announce to the whole Club, via the PA system, that Apollo 11 had landed on the Moon, July 20, 1969. I never thought, “Why me, the new girl?” I just did it. Then my picture was used as the illustration on the front cover of the Playboy Bunny Training Manual. Again, I just took it in my stride. Perhaps it was the innocence of youth that let me just take everything that was happening at face value, and not stop to analyze events. Looking back now I can say “Wow, that was really cool!” but at the time it was simply my new job- and yes, I was loving it. Did I find excitement, whether or not I was actually looking for it? You bet I did, and I would not have missed a single moment of it!    

How did people treat you as a Bunny outside the club environment?

In London it was absolutely fine, because most people I mixed with were Bunnies, or worked in other sophisticated environments like the super-smooth Valbonne night club, or Trader Vic’s at The Park Lane Hilton, almost next door to Playboy, or in advertising or the media. Back in my hometown where my family lived, 125 miles (and several decades!) from the Swinging 60s, it could be a different story. Family and friends were curious about my new life, of course, but perhaps they were a little bemused by it all. If you had never been to the Playboy Club you probably wouldn't ‘get it’, and seeing as very many people in provincial England then hadn't even been to London, maybe it's not so surprising they didn't really know how to deal with it.



Why did you leave Playboy? What did you do after Bunnydom?

I had been a Playboy Bunny for three and a half years, I had been a Cocktail Bunny, I had been a Croupier Bunny, I had been Bunny of The Year, I had represented the London Club in the first-ever International Bunny Pageant in the United States, I had been in newspapers, Playboy Magazine [above], on cinema and TV newsreels…and my 25th birthday was fast approaching. Everything came together and I simply felt there was nothing else I really wanted to do as a Playboy Bunny. Add into the mix the facts that I had been married for over 4 years, and I was hoping to start a family: the decision to leave was pretty easy to make. The strange thing was that I was really looking forward to going backward: to returning to a “normal” job, working “normal” hours and having a “normal life”. I had been offered the opportunity to join a recruitment agency in London and that was it…I was an ex-Bunny.

Did you get to keep any of your cool Bunny outfits or accessories? 

On the day I left the Playboy Club for the last time, I must admit I did consider stuffing a costume into my bag. Regrettably I resisted the urge. So, no costumes but I did already have a lovely collection of mementoes, including some uniform accessories. They are proudly displayed on my website.

What does your family now think about your time as a Playboy Bunny? 

The great thing is that the young members of my extended family, many of whom were not even born when I was Bunny Deana, think the whole narrative is really exciting. They love hearing my stories and tales of my experiences, listening with wide eyes and big smiles. It makes me very proud to be thought of as such a “cool aunt”! 

One last question: As Bunny of the Year, you really represented the Playboy Image in 1969. How do you think that image has changed over the years since then? (London Playboy Club image below from British Pathe)

I believe the Playboy Bunny image during my time was tantalizing and teasing, of course, but always tasteful, elegant and refined. These days, it has to be said, much of the world, not necessarily just the Playboy image, is rather more coarse, smutty and tasteless. I wish it wasn’t the case, but there you are, things “move on”, whatever you take that to mean. For me, I remain immensely proud to have been Bunny Deana during what I consider to have been the “prime time”, and I am terrifically pleased that I collected (and kept safe!) so many unique reminders and souvenirs that help me to keep the memory alive. Thank you so much for giving me this opportunity to tell you something about my life as Bunny Deana. It’s been great fun.



Thank You for spending time with us on Spy Vibe! Spy Vibers can find out more about life at the London Playboy Club, including links to British Pathe newsreels,  at Bunny Deana's website. See also Spy Vibe's Behind Playboy Bunnies. Further Bunny-info can be found on the ex-Playboy Bunny website. For more illustrated research, check out the book, 50 Years of the Playboy Bunny and the Playboy website. You can find the excellent book, Mr. Playboy, and documentary films about Hugh Hefner in Spy Vibe's secure Amazon store. No text or images from Spy Vibe may be copied or used without written agreement in advance. Photo album images are the property of Bunny Deana.

August 8, 2012

BRITISH DESIGN: VICTORIA & ALBERT MUSEUM

The Victoria & Albert Museum is currently holding an exhibit that traces British Design from 1948-2012. Covering elements of national identity, economic influences, and culture, the exhibit focuses on many fascinating and iconic designs, including the Brownie camera, the Mini Cooper, the Double-Decker Bus, Jaguar's E-Type, and fashion associated with Mary Quant, David Bowie, and the Sex Pistols. When it comes to sociological and historical examination of design, the V&A is peerless among international museums. The exhibit runs through August 12th. If you miss it, you might want to order the exhibition catalog available on their shop websiteYou can download the panel text of the exhibit here. Images from V&A and The Guardian, and an overview of the historical scope of British Design 1948-2012 from their website below.



"The impact of the Second World War on the social, economic and physical fabric of Britain was immense. The task of reconstruction dominated the post-war years. In 1945 a Labour government swept to power, and its radical plan for a comprehensive Welfare State would be broadly supported by all governments for the next 30 years. The drive for modernity in the rebuilding of Britain changed the nation forever. Events such as the Festival of Britain in 1951 presented a progressive view of the future and in the decades after the war Britain’s cities and homes were transformed.



However, a preoccupation with British traditions was often just below the surface and the grand spectacle of the coronation in 1953 reaffirmed traditional values for a world-wide audience. For many, the heart of British tradition was seen to reside in the land and many artists and designers explored themes that celebrated rural life and the countryside
Subversion


From the 1950s a new generation of Britons challenged the values of their parents. The focus of design moved from reconstruction to revolution. In the 1960s and 1970s, fashion, music, shopping, interiors and film enjoyed a fresh prominence as expressions of identity or radical intent. To adapt a common phrase of the time, the personal became political – and visible.


In Britain’s cities the shift was particularly powerful. From ‘Swinging London’ in the 1960s, through the nihilism of Punk in the 1970s, to the sharp presentation of ‘Cool Britannia’ in the 1990s, artists and designers pioneered an irreverent approach that marked the cultural landscape forever. In the studio and on the street, this subversive spirit has come to define British creativity for the past 50 years. Its sources are wide-ranging, from art students demanding reforms in the 1960s to Britain’s unique urban culture and social mix."

August 7, 2012

EUROSPY EXHIBIT & EVENTS

Spy Vibers with a taste for groovy Europsy films will be excited to check out a special exhibit of Eurospy poster art and a day of Eurospy events organized by Richard Rhys Davies of the Kiss Kiss Kill Kill Archive.


The Kiss Kiss Kill Kill Archive in collaboration with Aberystwyth Arts Centre is proud to present a programme of Eurospy themed events to coincide with the exhibition: KISS KISS KILL KILL: THE GRAPHIC ART AND FORGOTTEN SPY FILMS OF COLD WAR EUROPE on show in Gallery 2, The Aberystwyth Arts Centre 29th Sept 2012 –10th Nov 2012.

EUROSPY DAY
SAT 6TH OCTOBER 2012


4.15 pm Illustrated Talk - The European-ness of Eurospy
Illustrated with 400 high resolution images from the Kiss Kiss Kill Kill Archive, curator Richard Rhys Davies gives an hour long presentation that examines the spy film myth. Focusing on the Eurospy genre, the talk will reveal how Eurospy melds European identity, heroic tradition and technology into a unique cultural entity.

5.45 pm 35mm Film Screening - Deadlier than the Male (1966)
Recently shown on the beach at Cannes by Quentin Tarantino, this 60s spy gem was voted top-ten by The Eurospy Guide. A dizzying kaleidoscope of deadly spy girls, terrorism, Mediterranean excitement, espionage thrills and dangerous grooves, Deadlier then the Male is essential viewing.

7.45 pm Illustrated Talk - Diabolik: European Icon
An illustrated talk by Richard Rhys Davies charting the production and influence of Mario Bava’s seminal Diabolik.

8.00 pm 35mm Film Screening - Diabolik aka Danger: Diabolik (1968)
Diabolik is possibly the coolest film ever made. A fabulous mash up of master criminal, super-spy and psychedelic genres, horror maestro Mario Bava set the benchmark for the cool sixties flick.

EXHIBITION
KISS KISS KILL KILL: THE GRAPHIC ART AND FORGOTTEN SPY FILMS OF COLD WAR EUROPE, GALLERY 2 ABERYSTWYTH ARTS CENTRE




An Exhibition of 50s, 60s and 70s Spy Film Posters from The Kiss Kiss Kill Kill Archive Curated by Richard Rhys Davies. This exciting exhibition will appeal to everyone who loves Eurospy and the spy film genre. The exhibition shows a selection of posters from all over Europe including amazing artwork for many forgotten Soviet bloc films. The very different styles of graphic artwork provide a detailed picture of European taste, national identity and politics during the Cold War.

Kiss Kiss Kill Kill at Aberystwyth Arts Centre is a full remix of a touring exhibition first developed in partnership with UH Galleries and the Goethe-Institut, London.  The new show presents new acquisitions previously unseen in addition to newly restored pieces from the original show.  Full colour exhibition catalogue (above) available priced £24.99. More info at the Kiss Kiss Kill Kill Archive shop.

August 6, 2012

FUTURE LISTENING: THE 10TH VICTIM

It's music monday. As many Spy Vibers will know, I have a real soft spot for the 1965 Elio Petri film, The 10th Victim, starring Marcello Mastroianni and Ursula Andress. I caught the movie as a kid on a TV station out of NYC, before I ever saw a Bond film, and it established a template for me of the ultimate in groovy fashion, design, and music. I was fortunate to contribute the stills and poster gallery for the 2011 Blu-ray release by Blue Underground (see our secure Amazon store). The 10th Victim was #5 in our ultimate set countdown.

The 10th Victim has not been used often as a cultural reference in other works, as 007 and The Prisoner have. So I enjoyed catching an audio sample in 1995, when Towa Tei (of Deee-Lite) began his solo album, Future Listening, with a song called I Want to Relax, Please. I remember putting on the record when it came out and jumping up in excitement when I heard Mastroianni's voice. Tei began the album with a sample from the film's English language track, from a scene where Marcello checks into a road-side relaxing station- a futuristic, institutionalized bordello. Towa Tei's Future Listening showed a mixture of musical influences, including electronica, bossa nova, house, jazz, and pop. Top drawer musicians on the record included Ryuichi Sakamoto and Haruomi Hosono of YMO, Bebel Gilberto, and Nomiya Maki of Pizzicato Five. Listen for Marcello and enjoy! More info at Towa Tei's website. Also, check out the video from his new album Mach 2012

August 5, 2012

BIG LITTLE BOOKS: DOCTOR DOOM

An interesting flea market find today was the 1937 Big Little Book by Conrad Vane, Doctor Doom, International Spy, Faces Death At Dawn (#1148).  Looks like something from Sax Rohmer, doesn't it? The cover artists was Hal Arbo. Vane's character, Doctor Doom, was also featured in the 1939 Big Little Book, Doctor Doom, Foreign Spies, And the Ghost Submarine (#1460). The cover artist was Al McWilliams.


August 4, 2012

BOND BADDIES & THEIR TIMES

Whether it's Dr No sabotaging early missile tests (Dr. No), Spectre holding the world ransom with atom bombs (Thunderball), Blofeld ransoming the world with germ warfare (On Her Majesty's Secret Service), diabolical scientists who want to rid the planet of mankind and rule a new eden (Spy Who Loved Me, Moonraker), or media moguls who want to hold all copyrights to world chaos (Tomorrow Never Dies), the James Bond baddies often reflect the fears of the times. Whatever their evil scheme, however, they almost always are styled in Nehru jackets (see Spy Vibe's post Nehru Jackets). The Guardian recently looked at some some famous Bond Baddie plots here. The Empire On-Line also posted a look at the Bond Baddies today.

August 3, 2012

FOR YOUR SHELF ONLY: MATT SHERMAN

For Your Shelf Only continues! Spy Vibe recently talked with Jon Gilbert, rare book dealer and author of Ian Fleming: The Bibliography. Our chat began a new series on Spy Vibe, offering fellow collectors a chance to share their experiences and some of their prized treasures.

Our new guest is collector, Matt Sherman. Matt is the creator of the Bond Collectors Weekends (featuring vehicles, stars and locations) and the creator of SpyFest, the largest action and espionage convention. He is a writer on The Ultimate James Bond Fan Blog, former Webmaster of OO7Forever.com, and he has contributed to numerous Bond books, and music and multimedia projects. Matt is a collector of movie props, rare books, and he has compiled an extensive database detailing all of the Bond film locations.




When did you first become exposed to the world of James Bond?

Goldfinger. It’s the first movie Pierce Brosnan saw, and the first I remember, at age 5. Three generations hushed in the living room to Maurice Binder’s golden title sequence. Mr. Binder was an alumnus of Stuyvesant High School, where I Bonded with Lucy Liu and Lucy Deakins, and where Frank McCourt (Angela’s Ashes) was my English teacher. Proud Stuyvesant alumni include Nobel Laureates and U.S. Congressmen, but I’m thrilled we also have George Kisevalterwho controlled Russian doubles for CIA, George Raft (Casino Royale ‘67), and Joseph L. Mankiewicz, whose son Tom wrote four Bond screenplays and appeared at one of my fan events. Add my school to New York’s book and film locations and Bond was my destiny.

What was the first film you saw? Do you have strong memories or images associated with that experience?

This sounds strange, Jason, but I swear that though Goldfinger is the first TV-aired movie I remember, The Spy Who Loved Me is the first theater trip I remember at age 8! A strong association came from reading Ian Fleming’s novels soon after. 

Try to think back on that night. What fascinated you about the film? Were there elements on screen that captured your imagination? What was it about Bond for you as an 8 yr old?


That was quite a night for me. First, my parents argued briefly whether I was mature enough to watch Moore and Bach romp about onscreen so the movie stuck in my psyche even before the credits rolled. I definitely loved the thrilling pre-teaser ski/parachute sequence and Bond audiences wouldn’t make a noise like that again at a stunt until the Aston Martin barrel roll in Casino Royale.




As an eight-year-old, the sexuality of the film was lost on me but I loved Bond’s underwater missile-wielding Lotus Esprit. My parents brought me to Spy, but I insisted the family go to see Moonraker two years later. Sir Roger Moore was a great Bond, so suave, and his clothes were the height of fashion. I thought it was weird that this other fellow I didn’t recognize was on cable TV in Bond films like Thunderball and You Only Live Twice. I latched onto Bond the way other kids followed Superman, Spiderman or Batman, while the risqué content of the films and books was over my head.

When did you first begin to read Ian Fleming? Do you have memories of the first stories you read and of qualities that attracted you?

Imagine my surprise in learning The Spy Who Loved Me was a novel, too, about a year after seeing the movie, one of five Fleming paperbacks I found on a road trip. My Bond tour guide work began that same day as I read salacious passages to the teens in the van!


After, I remember thrilling to reading Fleming. In that first batch was Live and Let Die, a grownup’s pirate adventure complete with sunken treasure. Even today I appreciate movies that draw heavily on the original Fleming work like Casino Royale and On Her Majesty's Secret Service.

Forget the Fleming Formula of "Boy meets M, Boy meets Villain, Boy steals Girl" and you have page-turning action and suspense, gorgeous locations, and true stories of intelligence work. Fleming was deeply involved in espionage for the West and there it is in black-and-white, one foot in the real and one in the fantastic. I could taste the food and see the locations when I read at age 10 and still can.

Which editions did you first collect?


The Signet paperbacks were printed umpteen times and were commonly available everywhere. But when I discovered the inspiring first editions I had to buy those, too. But the Bonds went through many reprints through the 70s and 80s and I tried to buy everything.


When did you begin to collect more seriously? Tell me about some of the editions you tracked down.


I scrimped and saved to buy the British firsts with their lush art by Richard Chopping and others. I bought the computer-aided designs, too, but the painted covers are best. I searched far and wide for a For Your Eyes Only first in good condition, and it was worth it. Chopping had to redo the art until Fleming was satisfied that Bond's eye through the keyhole was the right shade of blue-gray.

I got my best friends into collecting and we'd stalk every bookstore in Manhattan. We’d walk 80 blocks down Second Avenue then up Third and down Lexington. There were few mystery specialists then so any bookstore could have Bond available. I was thrilled to get my first copy of You Asked For It for a few dollars as the seller didn't know it was the first American edition of Casino Royale.


Otto Penzler was a great help in the days when owners said, "I don't sell that Bond garbage." My friends and I were nearly shouted out of some stores. The irony is Mr. Fleming himself collected everything up to Einstein's original relatvity papers; he and some pals began today’s industry of collecting modern firsts.

Mr. Penzler allowed us as 12-year-olds to roam his Manhattan landmark store, The Mysterious Bookshop, where stars of stage and screen would pop in for the latest Sherlockiana or Bondiana. I was even allowed to ride the ladders madly across the two-story bookshelves where the rarest and best items were held. I waited breathlessly for all the John Gardner firsts—my mom and Mr. Penzler arranged one signed for my birthday and I was crushed when I lost it to a flood.

I got many special titles at Mysterious Books except for a Casino Royale without dust jacket that was a mere $600 and too much for my piggy bank. Many years later, Mr. Penzler would inscribe copies of his Fleming monograph for my tour group, a great thrill that provided another unique collectible.


Do you have favorite 007 book designs?

Sure. I have a Hungarian You Only Live Twice from a good friend, featuring Blofeld's castle of death as Golgotha where Christ died. It resembles a skull on the cover, even upside down! I love the early Pan and Perma editions, colorful and glamorous. Other super softcovers come from Richey Fahey. Each of his cover Bond girls resembles Fleming's descriptions in the text.


In hardbacks, everyone loves my James Bond and The Spy Who Loved Me, Christopher Wood's movie novelization and now considered a pricey beauty of a rarity. I have a great copy of rejected cover art from The World Is Not Enough thanks to an outstanding book collector, John Cox.


I could talk about a hundred more covers, but they’ll be shown in the new Jon Gilbert bibliography you’ve written about at SpyVibe. I've spoken with Fergus Fleming about this volume and it looks to be marvelous.

Do you collect specific titles or regional editions?

I’ve collected every Jonathan Cape/Hodder & Staughton British first, every different Pan and Signet cover, every Jove, Coronet, Penguin, Berkley, Michael J. Fein, Easton Press, you name it. I think I'm the sole collector who pursued a copy of every Bond hardback issued without a jacket in the English language; from the well-known Heron editions to dozens more. Enough for five times the shelf space I have displaying books now.


I sold some common editions to save money for the big ones. I even sold a set of Korean piracy novels, in hardback with glassine wraps and fascinating misspellings of the titles; to date it's the sole set I've seen in nearly 35 years of book collecting.

I have book cover photos filed in my PC, including every Bond ever in English, over 700 foreign covers, photos of numerous unique rebound books, and hundreds of other firsts in hardback and paperback. I have art samples and proofs and signatures on the PC to help other collectors, nearly 3,100 files in total. This seemed a more practical step than buying everything in print, ever.

Are there books in your collection that you prize above all others?

It took me more than 25 years to find a first edition of Umberto Eco’s collected essays, The Bond Affair. This renowned author was one of the first to recognize Fleming’s greatness. I have a sentimental  fondness for a Moonraker paperback from Bantam that hasn’t changed its value since purchased of $0.50. It's quirky, with splendid art featuring a kingly pompadour on the Roger Moore-ish Bond on its cover. And I think the recent "bullet in book" edition of Carte Blanche is a hoot and everyone I’ve shown one to thinks so, too.



I'm grateful for the many books that were inscribed to me and/or to which I've contributed from actors, production team members and authors I’ve helped with projects. Knowing how warm and kind people like Raymond Benson, Vic Flick and Richard Kiel are makes reading their work even more enjoyable. Collectors visit my home, where books lead to hours of storytelling.

Are there books that you still hope to find?


I helped a top collector secure a copy of Sable Basilisk and would love one for myself, though only six copies remain in existence. This slim volume highlights advice Fleming received in preparing heraldry materials for On Her Majesty’s Secret Service. And visiting other collectors lets me find new discoveries. Steve Kulakoski of For Your Eyes Only Books is a great pal and Steve and Kathy have watched my kids and Bond Collectors Weekends grow up. When Ben Sherman was born, Steve managed to find a greeting card that starts, "Did Daddy ever tell you about the time he was surrounded by SPECTRE…?” I welcome all book enthusiasts to visit me to share war stories and about the ones that got away.



How did you start collecting props from the films? Were they hard to track down?



The first props I had at home were from costumes our family made and friends made to be as authentic as possible at our fan events. Favorites included dressing as Bond from Moonraker and stepping to our party, my wife dressed as “Dolly” from the film at my side, complete with a fully extended parachute that trailed behind me for many yards. My kids carried it like the train of a wedding dress, clothed as two characters from The Man With The Golden Gun. Richard Kiel broke into laughter when he saw the costume, which required a considerable investment of time to organize, especially in finding a retired soldier’s working parachute, and getting it through airport security!


Have you specifically sought out props from Spy Who Loved Me or Moonraker because of the nostalgia they may hold for you? 

One prop item I always loved were Drax’s blueprints for his Moonraker globes of death. It would take me many hours to desktop publish anything like them; I really appreciate the work of The Danger Men with the blueprints, they are a great addition to my shelves. I’m still looking for the hexagonal glass Bond smuggled from the factory and so are other collectors.

Another classic is the laser guns the henchmen carry in the film. My son and I built one modeled after the originals, which had laser effects drawn on screen as in the Star Wars films. We added a blue laser to our version of the gun and why not, the prop world is the collector’s playhouse.



Tell me about tracking down props. Are most of the originals kept by the studio?


There are some props that can never be had because they are destroyed following production. You can watch From Russia With Love and crave Bond’s famous attaché case, but following the trail it turns out it was in Desmond “Q” Llewelyn’s home for years until it was returned to Eon’s own vault for future exhibitions of their choice.


Two props I was thrilled to pursue came for auction some years back, an original wedding ring of Tracy’s from On Her Majesty’s Secret Service and a table-sized model of the Liparus, the super-ship that swallows submarines in The Spy Who Loved Me. These went beyond my price ceiling but wound up in the homes of friends so I got to enjoy them after all. The comment Alan Stephenson made about his Liparus buy is a telling one. We were showing it at the second Bond Collectors Weekend when Alan told me, “Matt, look carefully as this model has different details than the ship as shown on screen. If it was a fan prop, it would be exact in every aspect. Therefore, this has to be a production model from the set and its provenance is authentic.” I always remember that the fans are tougher than the directors and even some of the continuity directors in film.


Most replica producers have held off making Goldfinger gold bars because the typical fan will complain unless the bar is as heavy as real gold! The one I have is a beautiful cast of a Fort Knox bar and I appreciate it. Again, the Goldfinger bars seen on screen have been all but depleted or destroyed. The shell shown below is one of those kinds of things you can’t put a price on, it comes with permission from Emilio Largo’s home from Thunderball. I worked with the Bahamas Ministry of Tourism to bring the first tour group onto the grounds. The pass nearby is my own conceit, I worked off Dr. Metz’s pass to Whyte Techtronics from Diamonds Are Forever, locked away now in Eon’s vault, and made a pass for Mr. Whyte himself, using his screen seen signature to add that extra touch of realism for a prop.






Most every Bond fan is into weapons and I have five different knives. The ones from The World Is Not Enough and Die Another Day on that Brosnan shelf weren’t too hard to track down. But the copy of Sun Tzu’s Art of War -that one has proved more than elusive. I’ve reached out to my contacts and scanned literally nearly 5,000 different copies of Sun Tzu’s classic online to find the match but the book that gets stabbed on screen in the plane fight that ends the film seems to be a proprietary one. When I get some time, I’m going to make my own copy as Eon’s sole copy is currently exhibited elsewhere. The missile borne in Bond’s BMW in Tomorrow Never Dies was tough to acquire. I met a fellow collector and was fortunate to have two copies of the nearby metallic invitation to Elliot Carver’s Hamburg party. That and other prop items, support for his show and some archival pieces offered, and I was home.




Do you focus on specific 007 titles or eras?

I’ve warned aspiring collectors to specialize. “Collect only costumes,” I say, or “Collect only 1960s and 70s toys and models.” But I’ve bought, made and nuclear blackmailed props from each of the 22 official Bonds plus Never Say Never Again and Casino Royale ’67.

Does collecting movie props require a high investment up front? Have you stretched to pay premiums for some artifacts?


I’ve worked with fellow fans to pursue props in tandem, for example, bidding on shoes from The Spy Who Loved Me—I just wanted one, not the pair—and a top offer I made was $10,000 on a special tuxedo Pierce Brosnan wore in several of his films, but Planet Hollywood beat me with a $25,000 bid.

What are some of the highlights of collecting and of organizing events?

Between SpyFest and my “Bond Collectors Weekends” we’ve played with prototype Corgis and helped bring new Corgi toys to market. We’ve strummed the guitar used in 1962 to record The James Bond Signature Theme, made calls from Maxwell Smart’s shoe phone, climbed inside Aston Martins, parahawks, two cruise ships, and a Russian submarine. We chomped Mexican and Chinese food with Richard “Jaws” Kiel, and spent an unforgettable day with Robert “I Spy” Culp at the sole convention appearance of his lifetime… props to me are tools to weld fans to the stars and to one another in friendship.

I’ve further invested thousands of hours of work and research, but my events have been helped by an army of collectors, whom I sincerely thank, great people like Danny Biederman, John Cork, Doug Redenius, Alan Stephenson, Dan McCruden, David Zaritsky, John Cox, Charlie Axworthy and many more who share of themselves and let me run alongside their adventures.


The collection must feel like your own museum or archive. Do you imagine selling it at a profit someday? Have you already sold items?



After the flurry to collect over 150 props in three years I asked myself which select items I’d desire most from each of the films, for home and to exhibit at shows, and I realized I’m nearly there. I parsed down recently to about 100 props on display, counting multiples like poker chips or gun bullets as a single item. I’ve sold hundreds of props and other collectibles over the years to help fellow completists. A favorite trick is to sell ten or twenty modest books or props to raise capital to buy one fancy item, which also saves needed display space. You collect everything when you begin and then you get choosy if you want to keep buying.



You keep a large image database to help you authenticate original and replica props?


Here’s an example of some research. I’ve owned different variations of “License to Kill prop bills” as other films use similar bills. What I’ve discovered: Prop $20 bills are in the plane fight above Milton Krest’s ship, which makes sense as these small denominations are literally thrown out a plane’s window to be scattered across the Florida Keys. A few hundreds are tossed, too. Most of the prop $100 bills go in stacks instead with Bond to deposit at Franz Sanchez’s bank. But they come out with different banded straps in bundles. This isn’t a continuity error. Sanchez laundered money through different channels so the band types are consistent on screen, pre-bank and post-bank. One real $100 U.S. bill goes atop a prop stack to fool the audience when Pam Bouvier opens her purse to a flunky. I can verify authentic bills as I’ve taken brought tour group to meet License To Kill crew members and see locations and props. That’s movie magic. Go easy on the real dollars and send the cheap stuff into the sky. One interesting tidbit, however, Bond’s aerial stunt team had a ball one night in Key West bars and strip clubs “spending” fake $100 bills into circulation!



Is there one prop that you value above all others? Why is it special to you?

I could give the collector’s infamous “they are all my children” speech but I’m always most excited about new acquisitions and ones I’m hunting.

How do you store and display your prop collection?

I’ve worked hard to get most of my collectibles on display instead of boxed, another reason to limit items. Glass shelves and bookshelves display hundreds of items, including props. My Bond room is painted the green shade of Bond’s apartment in Dr. No, with a prop shelf or two for each of the six Eon Bonds and another shelf with Casino Royale ‘67 items.

Do you plan to see the Designing 007 exhibit in London or when it comes to Toronto? What are the holy grail props that you want to see?

I heard from an insider last week that Barbican may open more North American tour locations soon and I plan to attend. But I feel fortunate to have seen many of the great Bond props through the years. I’ve seen in-person top costumes from Pierce Brosnan, Lois Maxwell and Desmond Llewelyn, the spider and Walther from Dr. No, Blofeld’s table from From Russia With Love, over a dozen screen-seen vehicles, and thousands of other amazing props and collectibles. Many of the best items at The International Spy Museum in Washington, D.C. were first exhibited at my SpyFest, and are owned by intelligence officers from the CIA and the KGB. I’m hot on the trail now for casino items from Skyfall (contact me, readers, I’ll pay top dollar!) and the fun and funky items friends are building, including Scaramanga’s bodacious bullet-bearing belt buckle from The Man With The Golden GunThe great thing about the Designing OO7 Exhibit for real props and the creation of sincere replicas is how they help James Bond’s loyal fan base join the action.

Thank you to Matt Sherman for joining us and sharing his experiences hunting down rare books and movie props. Scroll down for past editions of our series, For Your Shelf Only, where guests share stories about collecting and show us some of their treasures. Series links: Jon GilbertRaymond BensonJeremy DunsPeter LorenzDavid FosterRob MallowsRoger Langley, Craig Arthur, Fleming Short, Matt Sherman. You can find James Bond books and other spy treasures in Spy Vibe's secure Amazon Store.

August 2, 2012

WHERE EAGLES DARE

Where Eagles Dare, the WWII spy classic starring Clint Eastwood, Richard Burton, and Ingrid Pitt (1968), was chosen by Cinema Retro to lead their Movie Classics Special Issue imprint in 2009. Long out of print, the deluxe special #1 has fetched as much as $200 on the collector's market. Reader response has been so great that the publishers have now released a revised and expanded 116-page edition, adding 36 additional pages (that's 52 more pages than the standard Cinema Retro issue!). This limited edition includes an exclusive interview with director, Brian Hutton, and over 550 rare photographs. Available now for $19.95 in the US, see the Cinema Retro website for details.