Big League Chew

This imitative pouch of shredded bubblegum harkened to times when baseball players chewed tobacco openly, and with extreme prejudice; spitting brown missiles from a great bulge in the cheek, it was a sign of prowess perhaps. Portland Mavericks left hander Rob Nelson thought about the inherent dangers of tobacco use, and the possibility of a bubblegum alternative. He and pitcher friend and former Yankee all star Jim Bouton landed the idea with the owners of the Chicago Cubs—the Wrigley Company. The idea took hold, and the product was launched just in time for little league season in May of 1980.

Advertisements graced Saturday morning cartoon fare. Wads were shoved into mouths with gusto, as aluminum bats were swung, and leather fielding mitts warmed with wear. “You’re in the big leagues, when you’re into Big League Chew” the ad would say. And the ad was right. Big League Chew, in its shredded, fimbriated shag delivered, at first taste, a satisfying, almost euphoric blast of bubblegum flavor. A giant hank could be worked up. An entire pouch, with a little effort, could be culled into the side of a cheek, and manliness was to be had. Perhaps a superfluous spit was in order. Big League Chew is still made in America by Ford Gum & Machine Company in Akron.

Schwab's Pharmacy

“After that, I drove down to headquarters. That’s the way a lot of us think about Schwab’s. Kind of a combination office, coffee klatch and waiting room. Waiting, waiting for the gravy train.”
-William Holden as screenwriter Joe Gillis, upon facing rejection in the major motion picture Sunset Boulevard

When most of us envision a pharmacy, we recall aisles upon aisles of magic weight loss pills and periodicals, a blood pressure machine, cheap plastic toys and lines queued with the elderly. In the 1930’s, 40’s, and 50’s, one particular drug store was the center of Hollywood. Simply, it was headquarters.

Schwab’s Pharmacy was its own monster. Tinsel town legend dictates that gorgeous sweater queen Lana Turner was discovered here. This tale is one in a million. 8024 Sunset Boulevard was a who’s who of industry players, a venue to fill prescriptions, grab an ice cream cone, feast on a light dinner, and solidify blockbuster deals that would lead to cinema gold. On any given night, a trip to pick up aspirin for that nagging headache would yield a glimpse at the likes of Judy Garland, Ronald Reagan, and the Marx Brothers talking shop. Charlie Chaplin was a notorious pinball machine hustler, while future leading lady Ava Gardner poured sodas behind the counter for the entertainment elite. The titanic film “The Wizard of Oz” might have gone down in the annals of motion picture history as an also ran if not for the enigmatic anthem “Somewhere over the Rainbow”-quickly composed on the famous countertops of Schwab’s Pharmacy. F.Scott Fitzgerald suffered a heart attack (fortunately amidst a plethora of meds) inside the pharmacy’s hallowed walls, and Marilyn Monroe fed a grandiose appetite for pills though the pharmacist/chefs of Schwab’s.

The behind the scenes brass, arguably more important than their fresh faced and replaceable talents for hire, brokered some of cinema’s greatest collaborations over Coca Cola floats and cheeseburgers. The magical building was the last of its kind, a convergence of wanna be’s, has been’s, and current stars. It was a place where a misplaced drama club performer from a small town in Iowa could light Mickey Rooney’s Lucky Strike, where James Dean might seek the opinion of a stock boy strategically placing industry rags near the checkout lane.

8024 Sunset has been demolished and rebuilt several times, reborn as a multiplex and a shopping center to name a few. Nothing has lived up to the iconoclast known as Schwab’s Pharmacy, but it is not their fault, as nothing possibly could. Hollywood collectors treasure many things; Dorothy’s ruby red slippers, Rocky Balboa’s American flag inspired trunks, Luke Skywalker’s light saber- magnificent, all, yet none can touch the almost biblical rolodex that once was within the grasp of a teenaged soda jerk at Schwab’s.

Ready, Steady, Go!

I present a short list, followed with a trivia question. The Beatles, The Who, Stevie Wonder, The Supremes, The Beach Boys, Otis Redding, The Rolling Stones, The Zombies, Marvin Gaye, The Dave Clark 5, Dusty Springfield, Manfred Mann, The Surfaris, and Jimi Hendrix. Now, which national televised program featured the aforementioned artists, amongst numerous others, from 1963 to 1966?

Rolling Stones

Dave Clark Five & The Supremes

It is quite correct to answer “The Ed Sullivan Show” or “American Bandstand” if you bleed Red White and Blue, but in an era that pre-dates satellite and cable, throngs of Brit teens knew where the party was every Friday night. Ready Steady Go! was THE locale to view chart toppers and matinee idols early each weekend. Shaped from a different mold than its Yankee counterparts, RSG! was innovative from A to Z, with both its unique blend of camera use and talent deployment. Where else would someone witness unedited, full length studio versions of their favorite performers, or Mick Jagger miming the lyrics to the Sonny and Cher ‘tween pleaser “I Got You Babe”?

The Who

The Byrds

The Yardbirds

Dave Clark purchased the rights to the program, though for millions the music that served as the soundtrack to their lives still lives on through their RSG! memories. Ready Steady Go! carries forth as a time capsule of an era when society and music were in the throngs of revolution, a movement so immense that an ocean could not block its path. If a road trip to the Rock and Roll Hall of Fame proves too costly in these belt tightening times, simply view an episode or two of the UK’s early foray into the 60’s golden era of sound, and enjoy the rock and roll fantasy on your La-Z Boy.

Jimi Hendrix Experience

Exclusive Mary Wilson Interview

Exclusive Eric Burdon Interview

Barbie Doll; The Backstory

Barbie Millicent Roberts, a sunshine maned beauty with flair, grace, and a resume chock full of prestige, has been the best friend and mentor to young girls for fifty one years. And her ride is a pink ‘Vette, to boot.

Like most divas, she is better known on a first name only basis. Barbie, brainchild of Mattel’s founders, they had a daughter named Barbie. Their son’s name? You guessed it-Ken, has been at the forefront of women’s interests since her inception.

Naysayers expedite the notion that the plastic perfection steers children of both sexes toward misogynistic conceptions of the “ideal woman” (Point taken-In the flesh, Ms. Roberts would possess a 39 inch bust, 18 inch waist, weight 110 pounds, and stand 5’6 tall), but body image aside, Barbie has foreshadowed enormous events of the female journey for decades.

Initially little more than a debutante ball runner up, Barbie soon found herself on the cusp of greatness. While their mother’s were largely relegated to a June Cleaver existence, little girls witnessed Barbie annihilate glass ceilings with a jackhammer. In 1980, the first ethnic Barbie was introduced. Three years later, Miss America was crowned for the first time with Nubian roots. In 1986, after careers as a lawyer, physician, rock star, and Olympic ice skater, Barbie discovered the final frontier. That same year, albeit tragic, Christa McCauliffe was chosen to man the ill-fated Challenger mission. In 1992, Barbie ran for Chief Of Staff. In 2008, Hillary Clinton ran for the Presidency, Sarah Palin for the Vice Presidency, and Nancy Pelosi remains as the Speaker of the House.

No finality in sight, Barbie continues to set trends in couture, culture, and society. The pink ingénue retains the maxim of femininity without wavering from the

independence and acumen of the eminent industrialist she is. The largesse of the Barbie empire is not calculable; Sales emasculate GI Joe, sure. But the impact on the greater sex worldwide cannot be measured simply with numerals. Rather, a glance at community leaders, giants of industry, stay at home moms, and pink muscle car enthusiasts alike, reveals the influence of the enterprise that is Barbie Millicent Roberts. Any lingering doubts about this certifiable Wonder Woman have vanquished; now, we await her next act of greatness. And we know she’ll look great doing it.

Jetstream Balsa Wood Propellor Plane

Park the video games for a moment and have some real fun with Guillow's Jetstream. This simple to assemble plane has a 13.25" wing span, rubber band propellor, landing gear, and takes off on it's own power, from the ground.

About $4.00 and available at Hickoree's Hard Goods.

Made in the U.S.A., Massachusetts to be exact.

Daisy Outdoor Products

Ad Circa 1942

It would be lazy writing to rehash the iconic line that torments little Ralphie in the landmark holiday film “A Christmas Story”, so I abstain. But Ralphie’s obsession remains as groundbreaking as this celebrated silver screen cinematic masterpiece. For him, the best thing in the world was a Red Ryder Air Rifle. And it could only have been a Daisy.

When it comes to BB guns, Daisy is a true American legend. Daisy was born in 1882 (the name conceived upon General Manager Lewis Cass Hough firing a round and emphatically proclaiming “It’s a Daisy!”) as Plymouth Iron Windmill Company in Plymouth, Michigan. It was in 1886 that the company began to give BB guns with purchases of windmills, and soon the guns were so popular the company opted to sell air shooting products instead of windmills.  Relocated to Rogers, Arkansas, in 1958, Daisy has been the tool that has taught generations of youth how to properly handle and respect the rifles and guns that frame the portrait that is the great American heritage of shooting. An ode to a forgotten era when children shot aluminum cans outdoors rather than at zombies on a gaming system, Daisy products have also acted as a bonding agent between fathers and sons. In some families, a Daisy has been firmly in the clutch of the grandfather of our grandfathers, all the way down to our own sons.

The rare company that plies its trade while tenaciously clinging to its roots, Daisy continues to fabricate the finest BB gun products to aspiring sharpshooters and mini John Wayne’s. And as for Ralphie, we believe he never did shoot his eye out. His story about the icicle is gold to us. With the accuracy of a Daisy Red Ryder, there is no way he could have missed the target in his crosshairs on that white Christmas morning.

Phil & Ronnie Spector

In an age of interchangeable doo wop performers and cookie cutter rock and roll groups, a tour de force known as “The Wall of Sound” did not merely explode onto the scene-it was a nuclear detonation in a phone booth. An unconventional pairing of brass, woodwinds, strings, and large orchestral groups, the movement was captured in an echo chamber to create a full, rich and complex sound which emitted a natural reverberation on the AM dials.

Uber producer/Wall innovator Phil Spector created the new sound as a result of a neurotic aversion to stereo productions, believing the quality of the art suffered a breach in the process. He would describe the Wall as “A Wagnerian approach to rock and roll…little symphonies for the kids”. It was not uncommon for him to apply the dual use of electric and acoustic guitars in unison to capture a layered and dense vibe. The temperamental Spector would produce albums for John Lennon with The Wall’s employ, but the most dynamic application of the acoustical goldmine would come from Phil’s one time wife and her angelic trio, The Ronettes.

Helmed by the quavering vocals of Ronnie Spector and her sister and cousin, the songbirds from Spanish Harlem would become known as the “Bad girls of rock n roll”, due to their bee hive coifs, tight skirts, and heavy eyeliner. While contemporaries such as The Supremes were renowned for smooth harmonies, the perfect collision of The Wall and The Ronettes separated the ladies from the pack.

Possessing chops that were futuristic and otherworldly against the back drop of Phil Spector’s wizardry, a legend was conceived, the birth of a song that tugs at the heart to the point it becomes delightfully intolerable.

The emblematic model of the Wall of Sound that captured the attention of the world lives in The Ronette’s “Be my baby”. So influential was the arrangement, Beach Boys crooner Brian Wilson penned the smash “Don’t worry baby” as a tribute rebuttal to the Ronette’s imperative styling. When the girls would execute this soundtrack of pleading love, the listener would bear witness to a seductive larceny of their audio senses.

Ronnie’s gorgeous expression was not merely an oration of lyrics on a sheet; it was a soulful yearning that made all who listened FEEL her words as they flowed amidst the symphonic chaos of The Wall. As a writer prone to flowery adjectives and fawning reverence, I begrudgingly hold back the several page essay I easily could scribe regarding the evolutionary sexy sound and the emotion it evokes.

Pop life is cyclical by nature. For every Michael Buble, there was a Frank Sinatra, for every Lady Gaga, a Madonna, and every boy band, a Jackson 5. No exception to the rule, Phil Spector employed his genius sound of The Ronette’s with The Beatles and John Lennon, and The Wall of Sound heavily influenced the likes of Amy Winehouse, Billy Joel, The Beach Boys, Dusty Springfield and Bruce Springsteen.

It was a plethora of noise and confusion the ear was not apt to process, yet plowed through with sweet gusto. Like an overdose of Halloween chocolates, it was a pleasure that required indulgence, an auditory tornado unguarded by shelter.

Old souls and music aficionados alike shall forever adore the brilliance that was conceived in a diminutive enclave yet yielded a massive contribution to the annals of music. Such were the faculties of The Wall of Sound. Ronnie once sang “Oh since the day I saw you…I have been waiting for you”; Truth is Ms. Spector, it was you and the gals we had been waiting for. Thankfully you arrived, honored guests in our lives forever.

Ronnie Spector Tribute To Amy Winehouse

Z - Boys

Though nowadays considered a major league sport, as well as a lifestyle, skateboarding was once considered to be child’s play, an accidental curiosity that held as much importance as a pogo stick or a unicycle. The beast as it breathes today, the marketing darling that thrives on ESPN, clothing labels, gaming and film, was a mere cub until a few SoCal surfers sharpened its claws and filed its teeth in the 1970’s.

They were known as the Z-Boys.

The Bert Slide named after Larry Bertleman

It was in Santa Monica, 1971, when “Jeff Ho Surfboards and Zephyr Productions” opened shop. The Zephyr Boys (Z-Boys) represented the shop in surfing competitions, the team comprised of young teens Nathan Pratt, Stacy Peralta, Allen Sarlo, Chris Cahill, Jay Adams and Tony Alva. The highly dangerous Pacific Ocean Park, dubbed “Dogtown” by locals, was where the squad practiced their aquatic passion. When the pier waves would fizzle after the early- morning peak, the boys would hang out at the Zephyr shop, where they would pass the time flirting with girls, catching up on school work, and, of course, skating. A mere hobby at the time when not surfing, the Z-Boys had no idea they were to become the seeds of a revolution.

In 1975, to improve their wave form, the Zephyr team formed a skate squad, where they would practice their surf style on four wheels and concrete. Skateboarding had begun to rise back in popularity, so much so that the first big skateboarding competition since the 1960s was held, the famous 1975 Del Mar Nationals. Enter California cult status. Armed in their best Levi’s, Vans canvas shoes and Zephyr tees, the team instantly wowed the crowd, with their innovative trickery and aggressive style (a departure from the corny, gymnastics – influenced approach of their competitors). Essentially, the Tony Hawk’s and Ryan Sheckler’s of the world were born that day.

From this contest, the Z-Boys would go on to innovate.

The mid-1970s brought a major drought to Los Angeles. With severe water restrictions, many pool owners were forced to leave their swimming pools drained. The Z-Boys saw opportunity, the skating realm saw the invention of bowl skating. Upon this discovery, the Z- Boys and their "Dogtown" style created vertical skating (what is seen today at the X Games), which essentially led to offshoot sports as BMX, snowboarding and wakeboarding.

Sponsorships and brand recognition were also introduced and grew with the Z-Boy's ascent. What ultimately broke the crew up, big money and corporate branding, foreign at the time for a fledgling pastime that had yet to be recognized as sport, overtook the skateboard universe. Overnight, posters, magazines, even television programs were littered with images of the new breed of American athletes. Almost all were Z-Boys.

The skating game has changed dramatically since 1975. Those alterations, however impactful, are mere earthquakes. Once upon a time, when the decks were skinny, the dreams were big and the hair was long and wispy in the wind, the Lords of Dogtown started the Big Bang. No religion v science debate needed with that last theory, but in the annals of skating history, there are a few Gods.

They were known as the Z-Boys.

Our chat with Tony Hawk

The Saga of Joe & Max

The fight that changed the world, 22 June 1938. The House That Ruth Built. The Brown Bomber versus the Black Uhlan of the Rhine. Epic showdown of two races, two homelands, two ways of life.

In 1936, Max Schmeling, golden boy of Hitler and the Nazi regime defeated Joe Louis in a match marred with controversy. The rematch would take place two years later in the most fitting venue for the Stars and Stripes: Yankee Stadium. Louis had gone on to defeat James J. Braddock in eight rounds, becoming world champion. He refused to recognize himself as the rightful heir to the strap until he could defeat Schmeling.

Pre fight propaganda was at a peak; the United States was still feeling the effects of the Great Depression, and was awash in sullen despair. Germany, under the unsettling reign of Hitler, was in the midst of a revival, and undoubtedly the biggest threat to freedom worldwide. Two mega powers steered in opposing directions, the Americans simply could not afford the lingering effects of a defeat at the hands of the Nazis. Anti German propaganda snowballed, bequeathing Louis the back- breaking weight as the hope of a nation.

Click to read more ...

Beverly Hills 90210

Remember When?

It was the show that taught us that millionaires have problems too.

Beverly Hills, 90210. The Aaron Spelling brainchild, a trendy, far too long-running drama about glossy kids with rough edges that followed a pack of Gen-Xers from high school to post-collegiate life, while turning the cast into teen idols. It was a shamelessly campy addiction that tackled raw issues, including date rape, gun control, bulimia, steroids and substance abuse of every kind (at least twice).

The series began with the introduction of the Walsh family—Jim, Cindy, Brandon, and Brenda—who had recently moved from Minnesota to Beverly Hills as a result of Jim's job promotion. Imagine the culture shock! Or at least what Hollywood tends to believe is culture shock; anything between L.A. and New York is one big farm (see Beverly Hillbillies). Oddly enough, the series became a landmark through its groundbreaking, topical plots and dizzying cast rotation.

90210 introduced us to public insight on behind-the-scenes spats (Shannen Doherty v Spelling), up-and coming unknowns (Hillary Swank, Dean Cain, Matthew Perry), and arguably paved the way for famous-for-no-reason celebutantes (Paris Hilton). It also made a nation of kids believe that Dylan McKay was the original James Dean.

Most of the 90210 generation today have children of their own, kids whose own problems make their now lame parents’ issues seem vanilla by comparison. Somewhere in an alternate world, though, a group of teens are talking sideburns and the student newspaper over a Megaburger at the Peach Pit. We’ll bet that at least two of them are involved in a love triangle that can only be resolved with a quintessential 90’s ballad and a montage.