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“If a man hasn’t discovered something that he will die for– he isn’t fit to live.”
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–Martin Luther King, Jr.
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April 4, 1968– Dr. Martin Luther King, Jr.’s Assassination, Memphis, TN, –Photo by Joseph Louw
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“Life’s most persistent and urgent question is– what are you doing for others?”
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–Martin Luther King, Jr.
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Keith Richards with German model/actress Uschi Obermaier during the Rolling Stones’ 1975 Tour of the Americas. –Photo by Christopher Simon Sykes/Hulton Archive/Getty Images
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The sexy German model was with the Rolling Stones on their ’75 tour, and bedded both Mick & Keef. Uschi later rated the boys, saying, “Mick is the most charming man in the world, but Keith is the better lover. He just knows the anatomy of women…”
When Anita got word of Keef’s tryst with Uschi, she furiously charged at him, and grabbed him by the hair and screamed, “You f*cking messer, You’ve been messing with this bird!”
Uschi makes it clear that she and Keith loved each other– and that while Anita often lamented over Keef’s lacking libido, Uschi, by her account, had no problem keeping her man in bed for days at a time. “With me, there was never a problem.”
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December 18th, 1968– The Rolling Stones’ Mick Jagger and Keith Richards with Anita Pallenberg in a departure lounge at London’s Heathrow Airport. –Photo by Central Press/Getty Images
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When Henry Ford II’s quest to buy Ferrari back in 1963 was spitefully squelched by Enzo, the mandate was given to, “Kick Ferrari’s ass.” And not just anywhere– at Le Mans, the world stage of auto racing. The ass-kicking would finally come in the beautiful & brutish form of the iconic Ford GT40–America’s most incredible racecar ever.
Originally developed in England by Ford Advanced Vehicles Ltd under the direction of Aston Martin’s former team manager, John Wyer, the GT40 failed at Le Mans in ’64 & ’65, as Ferrari finished 1-2-3 both years. With failure no longer an option for anyone who wished to remain employed by Ford, Carroll Shelby was tapped to give the GT40 the necessary bite to beat the Italians. Shelby’s success at Le Mans in his own Cobras, and again with the GT40, was not about technology, but by being crafty. He replaced the 289 c.i. GT40 engine with the same powerful, big block 427 c.i. V-8 that powered his Cobras. The lower revving, larger displacement V-8’s were more able to take the stress of long endurance races than the higher-revving, small displacement engines used by Ferrari.
Shelby not only ended Ferrari’s racing dominance, he exacted sweet revenge for Enzo’s snub– and garnered Ford a remarkable four-year winning streak from 1966 – 1969.
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Two massive American automotive legends — Carroll Shelby and the iconic Ford GT40. Originally labeled GT, ’40’ was added due to its incredibly low 40-inch stance.
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West Sussez, England — A Carroll Shelby masterpiece, 1960s JW Automotive/American Gulf Oil-sponsored Ford GT40 racecar at the Goodwood race track — Image by © Martyn Goddard/Corbis
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1969 Carroll Shelby / Ford GT40 MK 1 racecar (JW Automotive/American Gulf Oil-sponsored) with body panels removed. This Ford GT P/1075 is one of the few racecars to ever win the 24 Hours of Le Mans back to back– here pictured as #6. — Image by © Martyn Goddard/Corbis
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Buddy Miles– blues/rock funkmaster legend if there ever was one. Miles was given the nickname “Buddy” as a child by his aunt– after the original drumming legend, Buddy Rich. He and Jimi worked their way up in the music scene together around the same time– Buddy playing in various jazz, soul, R&B, and rock acts before finally co-founding the short-lived Electric Flag. The band’s first album, Electric Church, was even produced by Hendrix. Miles returned the favor and recorded with Hendrix on Electric Ladyland. Later, with his signature afro and psychedelic get-ups that rivaled even Jimi– he, along with bass player Billy Cox, backed Hendrix in Band of Gypsys after the disbanding of The Jimi Hendrix Experience. They had an amazing and funky chemistry that really riffed. It’s been said that the Band of Gypsy’s album, recorded New Year’s Eve ’69 – New Year’s Day ’70, was primarily an obligatory move on Jimi’s part– as he owed the record company another album under the terms of his contract. Who really cares, if that was in fact the case? It worked, but unfortunately not for very long. By the end of January they were done– disbanded following the infamous show at MSG. And no, man– we aren’t going to talk about them California Raisins. R.I.P. Buddy Miles.
1968– Buddy Miles and Jimi Hendrix recording Electric Ladyland, The Record Plant, NYC — © Eddie Kramer “Jimi had a long standing warm relationship with Buddy Miles. As one can tell from this photo, Jimi and Buddy can hardly contain their laughter. One of Jimi’s most endearing traits was his amazing sense of humor. Even though at times it was directed at myself, Mitch and Noel, his humor was often quite self-deprecating. This was all done in the desire to keep the session loose!” — EK
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Jimi Hendrix (Lucky Lager) and Buddy Miles, of the all-black badass funky rock trio Band of Gypsys.
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Jimi Hendrix on bass, Johnny Winter on guitar, and Buddy Miles on drums Feb. of ’69 at The Scene. — © Bill Nitopi (via)
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“Clapton is God.”
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From the desk of Contributing Editor, Eli M. Getson–
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Have you ever thought you had it all? Once-in-a-lifetime talent, looks, fame, adoring fans, beautiful women on your arms, private jets and chauffered cars at your beck and call. People hang on your every word, and yet, you have that nagging feeling something is not right. Is this it? Who am I? What purpose does my life have?
Then one day it hits you– hammers you actually. You get total clarity and begin to change everything you’ve known and held sacred. So it was when Eric Clapton heard The Bands Music from Big Pink. It was like all of a sudden he heard this record and said to himself, “Now this is what music should sound like.” For me personally– this has always been one of the most interesting moments in rock music history.
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1968, NY– Eric Clapton, Ginger Baker, Jack Bruce of Cream. –Image by © Michael Ochs Archives/Corbis
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Back in 1968, Clapton was leading Cream, playing to sold-out arenas, enjoying massive commercial success, and can sample all of the earthly pleasures that are thrown the way of a guitar god. Then he hears this album, by Dylan’s back up band no less, and decides Cream is done, and that the music he’s been playing is self indulgent crap. In a way it makes sense. By ’68 Clapton and Cream were so big, they could just show up and people would go crazy. It was probably becoming a little too easy to “mail it in” on any given night. Also, don’t under-estimate the power of ego– it always rears its ugly head. Clapton’s bandmates Jack Bruce (bass) and Ginger Baker (drums) were both virtuosos in their own right, and the competition to “out solo” each other at live shows probably got stale as well. Ultimately all this, and the loss of comeradery and togetherness, took its toll. Imagine taking a plane across the pond, then separate limos to different hotels, with each band member having totally different entourages to boot. It would soon spell the end for of one of rock ‘n rolls most spectacular trios ever.
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Robert Whitaker, Eric Clapton, 1967, © Collection Robert Whitaker.
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Ultimately, I speculate here, by ’68 Clapton may have felt he had scaled the heights as a guitarist– there was him and Jimi Hendrix and everyone else– and in his private moments he may have sat wondering what to do next. Like many of us he was looking for something to inspire him, to make him work at it. So when he put Music from Big Pink on his record player he listened once and was mesemerized, he listened a second time and may have been slightly confused (the vibe of the album makes it sounds like in could have been made in 1868), he listened a third time and began to feel that spark that every artist feels when they have a creative rush– and by the fourth listen Cream was done.
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From the desk of Contributing Editor, Eli M. Getson–
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Teammate Sherman Plunkett gave Namath his nickname after seeing this 1965 Sports Illustrated cover with Namath standing in front of New York City’s infamous avenue. The Hall of Famer lived up to the name with both his brash fur coats and bold predictions, the most well known coming in 1969 when he guaranteed his 19-point underdog Jets would defeat the Baltimore Colts in Super Bowl III. They did, 17-6, and Namath was named MVP. Photographed by: James Drake for Sports Illustrated
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Try to wrap your head around this– you’re the quarterback for the New York Jets in 1968-69; leading an upstart team from the counterculture AFL into Super Bowl III against the heavily-favored Baltimore Colts. You’re the poster-boy in the battle of the longhairs and freaks (Jets) versus the ultimate symbol of straight, corporate NFL excellence (Colts). You’re young, very single, and beyond sexy — like catnip to the ladies — you own NY. You have that sense of immortality that comes with being young, rich, and very, very good.
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New York Jets quarterback Joe Namath lounges by the pool with press and fans before Super Bowl III. Photographed by: Walter Iooss Jr. for Sports Illustrated
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To say it’s a charmed life is the understatement of the century. Those heady days leading up to Super Bowl III, rewrote the script for the celebrity athlete, the Super Bowl, and the fortunes of an upstart league of misfits, outlaws & free spirits. No matter what happened afterward, Joe Namath etched himself into our collective consciousness in that first month of ‘69. We all dreamt of being like Joe–carousing Manhattan’s hottest spots all hours of the night with a blond and brunette as bookends, armed with a bottle of Jack, letting it all hang out– and still having enough to burn the Raiders the next day. Dick Schaap, Namath biographer (and later co-host of the Joe Namath Show), said he witnessed just this before the AFL Championship that year. A legendary story celebrated by us fans– the ultimate testament to how cocksure our QB was. Today he would have been pilloried for his lack of “focus”, back then we celebrated how fun it all was and lived vicariously through “Broadway Joe”.
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Circa 1970– Rome, N.Y.: Jets’ star quarterback Joe Namath turns equestrian for his role in the forthcoming motion picture, C.C and Company. — Image by © Bettmann/CORBIS
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We all know what happened next– Miami, The Orange Bowl, the “Guarantee”, and then going out and making it happen. Miami Beach must have been a helluva good time that week. New York is a demanding town– you come to be great or be gone. If you can back up your bravado with action and bring home the prize then we will love you forever, no matter how much you embarrass yourself or us later on. We owe you that much for the memories alone.
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From the desk of Contributing Editor, Eli M. Getson–
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Circa 1946 — (original caption) Hollywood Stars Ski at Sun Valley. Active sports are the best things in the world to relax one after a session before the Kleig lights, and these Hollywood stars chose skiing as their sport. Shown on a crest at the famed resort at Sun Valley, Idaho are, left to right: Mrs. Gary Cooper, Jack Hemingway, Ingrid Bergman, Gary Cooper and Clark Gable. Used by the Navy during the war, the resort will be opened to the public in the fall of 1946. — Image by © Bettmann
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With the snowfall upon us (and where I live, it will be falling until late April) it gives me a chance to induldge in my obsession with old school style on the slopes. I want to be clear that I will not include snowboarding in this post– different sport, different style altogether. I also want to be clear that this obession of mine is very rooted in the years 1967-1977, when I feel ski style was at its height. I’ll get many an argument from all the Polo alumni that read TSY that the Sun Valley/Gary Cooper 1930s & ’40s look (above) is the ultimate; and while the snowflake sweaters, melton wool jackets, gentsy trousers (with zippered pockets to keep out the snow), and waffle stompers of that era certainly do have their appeal– I am more fixated with vintage Fila, Bogner, Descente, Addidas (very rare), Rossingnol, and Head. Courreges did some skiwear in the 1960s for women that is highly prized by vintage heads the world over. I have combed many a vintage store in Europe looking for an old school graphic Fila or Bogner coat in all its pieced, color blocked, and technicolor splendour so I could work it like a skier on the pro tour, circa 1968. Who wouldn’t want to rock the, “just hit the mountain in Gstaad, heading to Chamonix, and then off to Aspen to wind down the season” look.
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Circa 1968 — Aspen, Colorado: French skier, Jean Claude Killy manages a smile for his fans after placing 3rd in the Roch Cup men’s downhill event here, March 15th. Killy’s legion of fans can be seen reflected in his sunglasses. — Image by © Bettmann
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Without a doubt, my obsession was fueled by Jean Claude Killy, the King of the slopes and one of the most stylish athletes of all time. A world champion skier without peer– In 1966–67 Killy won every downhill race he entered, earning the first World Cup for men. Killy also won the triple crown of Alpine skiing– capturing all three golds medals (downhill, slalom, and giant slalom) at the ’68 Winter Olympics in Grenoble, France . He was blessed with movie star looks, and came on to the scene when more obscure sports like sking acually got Saturday afternoon airtime, and the Olympics still tended to be a top two sports draw on TV. Killy had ridiculous style and even more ridiculous skill. He was, and is, how I want to look on the slopes– slim silhouettes, graphic colors boldly streaking by on the turn, and geared towards peak performance. Killy is one of those athletes I will always associate with the epic ABC Wide World of Sports. I’m not sure how Jim McKay and Howard Cosell did it, but they mythologized athletes, especially international athletes, on the level of jet-setting movie stars. I miss those dreamy days of my youth. I miss how the lifestyles of the athletes of old had real class, and were larger than life. Mostly, I miss their character, and how incredible they looked in competition– and everyday life. They inspired me then, and still do to this day.
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August 1971 — French Skier Jean-Claude Killy in Saint-Tropez — Image by © Apis/Sygma
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1968, Johnny Cash at Folsom Prison., 1968.
It was 1968, and Johnny Cash was finally at a place in life where he was able to get a grip on his drug addictions — with the love and support of his wife June. Johnny had always wanted to perform at Folsom — ever since he first recorded the tune Folsom Prison Blues back in 1957 for Sun Records. After years of delays caused by management changes at Johnny’s record label, and battles with his own personal demons, the time was finally right.
Backed by the legendary Carl Perkins, the Tennessee Three, not to mention June Carter Cash (a musical dynamo in her own right ), Johnny and company set out to California’s Folsom Prison to put on one helluva show (two shows actually) for the penned-up boys in blue. The resulting live album At Folsom Prison was a huge success that reignited Johnny Cash’s career, and is an enduring classic that is hands-down required listening for all Johnny Cash, American Roots, and Country Western music fans.
From the moment you hear that “Hello — I’m Johnny Cash” and that guitar — you’re flat hooked, brother.
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Johnny Cash at Folsom Prison, 1968.
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Johnny Cash at Folsom Prison, 1968.
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Carroll Shelby, whose Ford powered cars have been a constant contender in International racing, plays a toy flute to charm a toy Cobra out of its basket on the hood of his latest offering to the automotive world, the Mustang GT 350, at the first showing of the car- January 27th, 1965 in Riverside, CA. The Shelby is a modified Ford Mustang Fastback, with a 289 Ford Cobra engine, front disc brakes, and improved suspension for road racing or high speed driving. -- Image by © Bettmann/CORBIS
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Carroll Shelby was undoubtedly the greatest single force behind American auto racing over the last 60+ years. From his legendary racing career, to reinventing the image of American road-racers in European competitive racing and beyond. In 1962, and with no official engineering background, Carroll Shelby created the legendary, stallion-slaying Cobra, which soon ended Ferrari’s all-out domination of the World’s Manufacturing Championship. For him, the recipe was simple and oft repeated– put a massive engine in a lightweight, nimble car.
In 1965, the Shelby Mustang GT350 made its production debut setting off a legendary battle for power and prestige between rival Detroit automakers– which would from that day on be known as the “Pony War”.
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The legendary Shelby Mustang GT350
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To say that Bullitt had a car chase scene is like saying Steve McQueen was a good actor. Both are arguably gross understatements. The history-making car chase from Bullitt is still considered the gold standard for which all such scenes are held to today.
McQueen hadn’t planned on a driving double– in fact, he firmly insisted on doing all the Mustang stunt driving himself. But that all quickly changed– while shooting an early scene (that can be seen in the film), he missed a turn pretty hard and nearly lost it. The studio exec’s immediately pulled the plug on McQueen’s plans and tapped professional stunt drivers with a little more practical experience and skill. As fate would have it, main driving duties were handed over to none other than McQueen’s good buddy (and auto and motorcycle racing legend) Bud Ekins.
The story behind the filming of this ground-breaking scene (I hate to say it) is more fascinating to me than the whole of the film itself. Read on for great behind the scenes details on how history was made in pulling-off this incredible piece of work– the likes of which had never been attempted before.
The Selvedge Yard 