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jazzviewswithcjshearn · 5 years

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Somethin’ old, somethin’ blue: Jimmy Smith Plays Pretty Just For You (Blue Note, 1957).

Jimmy Smith: organ; Eddie McFadden: guitar; Donald Bailey: drums

Plays Pretty Just For You was Jimmy Smith's 11th Blue Note album, and sixth session of 1957. Up to that point Smith's Hammond organ style was revolutionary, while his very first album A New Sound, A New Star, Jimmy Smith At The Organ (Blue Note, 1956) found the precocious 28 year old displaying influences in Wild Bill Davis and Bill Doggett, the majority of his catalog was firebreathing. Smith's recordings were designed to feature exciting takes on bebop tunes, blues, standards and ballads, but the present recording focused on Smith playing standards with emphasis on melody with his regular group of Eddie McFadden on guitar and Donald Bailey on drums. Smith's previous recordings of the year more often then not featured him in all star ensembles with all star hornmen like Lou Donaldson, Hank Mobley and Donald Byrd and rhythm section partners Kenny Burrell and Art Blakey. Smith's new trio with McFadden replacing Thornel Schwartz and Donald Bailey remaining on drums was only featured on a track on A Date With Jimmy Smith, Vol. 1, a track from At The Organ, Vol 2, and half of The Sounds of Jimmy Smith.McFadden offered a more diverse, interesting second solo voice than that of Schwartz and finely tuned accompaniment from Bailey.

Smith's trio would travel to the ballroom of the Manhattan Towers Hotel, the site of his previous recordings just a few months earlier in February, and tackle 9 pieces, 8 of which yielded the original LP. Hoagy Carmichael's “The Nearness Of You” kicks off the program with a slow burn. Smith shows the influence of his predecessors with rich, full organ and block chords mainly sticking to the melody. Eddie McFadden' dark toned guitar takes the lead with a gentle solo and Bailey's brushes on ride offering ever steady support. An unusual choice of “Jitterbug Waltz” by Fats Waller with it's 3/4 skittering gallop anticipates Plays Fats Waller by five years, sees Smith alternating between the same setting for his Errol Garner infused sound he'd use for “squabbling”, and all stops out full organ, as McFadden lays out on this number. “East Of The Sun” is the first uptempo number, and “Autumn in New York” maintains it's rich hues through Smith's full throated chords, and a dramatic ending. “Penthouse Serenade” has the organist's signature squabbling technique and sensual float courtesy of Bailey's half time on the melody and McFadden's quarter note comping. Only on “I Can't Get Started” does Smith first display the ahead of the beat, skittering soloing with the first 3 drawbars out and no percussion for the first time on the album, and reprises that style on “Old Devil Moon” offering more of the approach to soloing that would influence legions of organists. The trio recorded another take of “Somebody Loves Me” previously recorded in February and slotted as the album closer on The Sounds Of Jimmy Smith at the same May 8, 1957 session but it was not issued until 1996 only in Japan on Cherokee. The track was later issued in 2004 on the Japanese Rudy Van Gelder mastered edition of Plays Pretty Just For You.

Sound

Jimmy Smith Plays Pretty Just For You is a unique and historic entry into the Blue Note catalog in that it is the label's second session issued in stereo. Rudy Van Gelder would run both stereo and mono tape decks simultaneously until the Moanin' session by Art Blakey & The Jazz Messengers in October 1958, whereas all mono versions would be made from stereo fold downs. Earlier on May 8th, Van Gelder taped The Stylings Of Silver by Horace Silver that afternoon in Hackensack, NJ and the Smith session later that evening in NYC. What is unusual about this session is that the stereo image is atypical of most Blue Notes of the period because the drums are on the left channel, organ in the center and guitar on the right. Clearly Alfred Lion and Van Gelder were trying to figure out the right kind of sound with the new technology, before settling on guitar in the left, organ in the center and drums on the right for future sessions. Consequently, the engineer was still trying to figure out the best placement and sound at Manhattan Towers using remote equipment used on live sessions. The organ has tons of presence, especially with all stops out it rings loud and clear, McFadden's guitar has a rich depth and Bailey's cymbals shimmer. The rear sound stage has lots of hall and reverb depth, and in the 1994 Japanese CD TOCJ 1563 that I have, has a 3 dimensional sound stage similar to that of the Audiowave Blue Note XRCD's. “I Can't Get Started” has an annoying high pitched tape squeal at the start, but this was also present on a 70's United Artists Blue Note era blue label vinyl pressing I've heard. Overall though the sound is very detailed and vivid. Unquestionably Smith used a wider range of tone colors on the organ in the mid to late 1950's and this album is a perfect example of that.

Concluding thoughts

Jimmy Smith Plays Pretty Just For You is a prototype of similar sessions the organist would record for the label like Softly As A Summer Breeze (Blue Note, 1958, released in 1965) and Standards (released in 1998 in complete form on CD) that focused on a low key mood. It also serves as the calm before the storm on Groovin' At Smalls Paradise taped in November, that demonstrated Smith playing at an absolutely fevered pitch diving into the same kind of harmonic terrain as the sheets of sound technique John Coltrane was investigating at the time. Plays Pretty Just For You should not be the first entry in the world of Jimmy Smith but for those well acquainted, it shows a softer side that is every bit as rewarding as the more fiery examples.

Music: 8.5/10

Sound: 8/10

#jimmy smith #Blue Note records #jazz organ

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gatespage · 7 months

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Rudi McFadden (ft. Gates McFadden)

Face to Face with David (s5ep2) (2023)

#gates mcfadden #beverly crusher #media: picard #type: interview #st:tng #year: 2023 #media: face to face with David #star trek #star trek: the next generation #dr crusher #link in title

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auburnfamilynews · 4 years

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Photo by Ethan Miller/Getty Images

Get ready for Week 3 in the NFL!!!

It’s time to look ahead to Week 3 in the NFL!!

Here is the schedule of games this weekend with Auburn players participating in them:

Tonight - 7:20 PM

Dolphins (0-2) at Jaguars (1-1)

Dolphins - Noah Igbinoghene, Chandler Cox

Jaguars - Daniel Thomas

For the second straight Thursday, it’s an intra-state battle on Thursday Night Football. This week in Jacksonville, a pair of Tigers who had big roles last year in Auburn’s secondary will face off for the first time.

Sunday - Noon

49ers (1-1) at Giants (0-2)

49ers - Dee Ford

Giants - Darius Slayton

It would appear Dee Ford will miss some more time for the 49ers who is one of several players injured for the defending NFC Champions.

After further evaluation, #49ers DE Dee Ford is expected to miss this week’s game against the #Giants and there’s no clear timetable for his return, sources tell me and @MikeGarafolo. The hope is Ford’s back injury settles down, but it may take some time.

— Tom Pelissero (@TomPelissero) September 22, 2020

As for the Giants, Darius Slayton had just 3 catches in Week 2 after 2 TDs in Week 1 and without Saquon Barkley and WR Sterling Shepard, who were both placed on IR this week, the Giants will need Slayton even more going forward.

Bengals (0-2) at Eagles (0-2)

Bengals - Josh Bynes, Carl Lawson

Eagles - Rudy Ford, Jack Driscoll

The Bengals will move forward without C.J. Uzmoah who was lost for the season due to a Torn Achilles last Thursday night. Josh Bynes already has 16 tackles for Cincinnati this season.

Raiders (2-0) at Patriots (1-1)

Raiders - Daniel Carlson

Patriots - Cam Newton, Jonathan Jones, Jarrett Stidham

This will be the one I would imagine most Auburn fans eyes will be on Sunday. Daniel Carlson has been money for Vegas so far nailing a pair of 54 yard field goals, including one to send the Saints packing last Monday night.

Cam Newton was about a yard away from completing a remarkable comeback in Seattle Sunday night. But he certainly made this presence felt throwing for 397 yards and scoring 2 more TDs on the ground. Cam is back and healthy and that’s dangerous for opposing NFL defenses.

Washington Football Team (1-1) at Browns (1-1)

Washington - Peyton Barber

Browns - Cody Parkey

Peyton Barber saw extremely limited action last week after 2 TDs in Week 1.

Cody Parkey made all 5 of his extra points against Cincinnati last week.

Bears (2-0) at Falcons (0-2)

Falcons - Marlon Davidson, Josh Harris

Good news on Marlon Davidson it would appear, who has missed the first 2 games due to a knee injury:

Dan Quinn said he expects rookie DT Marlon Davidson to get a "full allotment of reps" in practice this week. Has been limited since season started with a knee injury.

— William McFadden (@willmcfadden) September 23, 2020

They need all the help on defense they can get as they’re giving up only 39 points a game over the first 2 weeks.

Sunday - 3:05/3:25

Panthers (0-2) at Chargers (1-1)

Panthers - Derrick Brown

DB had a tough outing Sunday and will look to bounce back as Carolina heads to the West Coast.

Jets (0-2) at Colts (1-1)

Colts - Braden Smith

Cowboys (1-1) at Seahawks (2-0)

Seahawks - Neiko Thorpe

Buccaneers (1-1) at Broncos (0-2)

Buccaneers - Carlton Davis, Jamel Dean

Carlton Davis had an interception last week against the Panthers and will take on a Broncos team whose offense has gotten off to a slow start.

Lions (0-2) at Cardinals (2-0)

Lions - Kerryon Johnson

Kerryon found the end-zone but has just 7 and 8 carries in his first 2 weeks of the season.

Sunday - 7:20

Packers (2-0) at Saints (1-1)

Packers - Montravious Adams

from College and Magnolia - All Posts https://www.collegeandmagnolia.com/2020/9/24/21453635/auburn-football-in-the-pros-week-3-preview

#IFTTT #Blogger #auburn #auburn fast #wareagle #AuburnFamilyNews #war eagle #sec #football news #aubu

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sankey2608 · 4 years

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The full Squad of RM:-

Facundo Campazzo, Sergio Llull, Nicolas Laprovittola, Juan Nunez, Rudy Fernandez, Jaycee Carroll, Fabien Causeur, Gabriel Deck, Jeffery Taylor, Trey Thompkins, Jordan Mickey, Usman Garuba, Felipe Reyes, Walter Tavares, Anthony Randolph

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thenib · 3 years

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Brian McFadden.

#Brian Mcfadden #rudy giuliani #2020 election #voter fraud

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chiefpundit-blog · 5 years

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LeFunk! – Wedding Band and Party Band

LeFunk! is a busy covers band formed in 2010. They specialise in classic Soul, Motown, Disco and Funk while also performing hits from other genres including Pop, Indie, Rock and Reggae. Every song is chosen for its dance-floor impact and the band will bring a fun, interactive party atmosphere to any event, be it a wedding, birthday, festival or conference.

The band is available in three formats, the 5 piece, 4 piece or a compact trio, making LeFunk! the perfect choice for venue sizes ranging from the corner of a bar to large hotels and concert halls! The band are unique in that they proficiently capture the power and presence of classic dancefloor hits using far fewer musicians than similar bands in this category. Fewer musicians means you’ll pay less, need less space and experience far less disruption than you’d undergo with other bands.

The versatility of LeFunk’s talented members also allows for some wonderful options during the earlier phases of your event such as drinks receptions, wedding breakfasts or the wedding ceremony.

These include:

Classical Instrumental piano

Classical / Instrumental Nylon String / Acoustic Guitar

Acoustic Duo (Guitar and male/female vocals)

Solo singer with backing tracks

The band can supplement this with a tailor made or request based DJ service through their impressive PA system for your entire event, including options for lighting, haze machine, star cloth backdrops and a radio microphone connected to the PA for you to make speeches and announcements.

For weddings your first dance can be learnt and performed by the band at no extra cost.

For additional peace of mind, LeFunk! have deputy musicians who rehearse with the band and can usually cover for last minute emergencies and the band has Public Liability Insurance of up to £10million. Certificates for PAT Testing and PLI can be supplied on request.

Previous Clients Include: Hundreds of Private Weddings (various Locations) The Royal Air Force Grosvenor Casinos Wigan Athletic DW Stadium Macclesfield Town FC Greater Manchester Police Stockport Council Stockport Plaza Theatre Adelphi Group Tyco Awards Night West Cheshire & North Wales Chamber of Commerce Training Plus Hairdressing Llangollen Pavilion Kinder Mountain Rescue Team BLISS Tattonbury Festival (Tatton Park) Cheshire Explorer Scouts Fresh Nightclub Macclesfield Birthdays (Various Hotels) Bars & clubs in Manchester/Cheshire

Example Repertoire

Sixties Baby Love – Diana Ross & Supremes Brown Eyed Girl – Van Morrison Buttercup – The Foundations Dancing In the Street – Martha & The Vandellas Hound Dog – Elvis Presley I Feel Good – James Brown Heard It Through the Grapevine – Marvin Gaye It Takes Two – Marvin Gaye / Kim Weston The Midnight Hour – Wilson Pickett Reach Out – The Four Tops Rescue Me – Fontella Bass Respect – Aretha Franklin Soul Man – Sam & Dave Sugar Pie Honey Bunch – The Four Tops Stop In the Name of Love – The Supremes The Snake – Al Wilson Where Did Our Love Go – The Supremes You Can’t Hurry Love – Diana Ross & Supremes You Keep Me Hanging On – The Supremes

Seventies Ain’t No Stoppin’ Us Now – McFadden & Whitehead Best of My Love – The Emotions Billie Jean – Michael Jackson Blame It On The Boogie – The Jacksons Car Wash – Rose Royce Come and Get Your Love – Redbone Dancing Queen – Abba Disco Inferno – Trammps Give it Up – KC & The Sunshine Band Good Times – Chic Grease – Franki Valli High On You – Sly & Family Stone How Deep is Your Love – Beegees I Want You Back – Jackson 5 Le Freak – Chic Long Train Running – Doobie Brothers Lost In Music – Sister Sledge A Message To You Rudy – The Specials Play That Funky Music – Wild Cherry Relight My Fire – Dan Hartman/Take That Stayin’Alive – Bee Gees Streetlife – Crusaders Superstition – Stevie Wonder That’s the Way I Like It – KC & The Sunshine Band We Are Family – Sister Sledge Wishing on a Star – Rose Royce Yes Sir I Can Boogie – Baccara You To Me Are Everything – Real Thing

Eighties, Nineties • Can’t Take My Eyes Off of You – Boys Town Gang • Celebration – Kool & The Gang • Crazy Little Thing Called Love – Queen • Don’t Stop Believin’ – Journey • Faith – George Michael • Feel Like Making Love – George Benson • Groove Is In The Heart – Deee-Lite • Kiss – Prince • Last Night a DJ Saved My Life – InDeep • Madness – Madness • Movin’ On Up – M-People • Never Too Much – Luther Vandross • Night To Remember – Shalamar • Perfect – Fairground Attraction • Power of Love – Huey Lewis • Red Red Wine – UB40 • Rhythm of the Night – Corona • Sing It Back – Moloko • Somebody Else’s Guy – Jocelyn Brown • Tainted Love – Soft Cell • Thinking of You – Sister Sledge • Upside Down – Diana Ross

Contemporary 24K Magic – Bruno Mars Blurred Lines – Pharrell Williams Get Lucky – Daft Punk Firework – Katy Perry Rolling In The Deep – Adele Happy – Pharrell Williams Marry You – Bruno Mars Forget You – Ceelo Green Gotta Feeling – Black Eyed Peas Locked Out of Heaven – Bruno Mars Love Yourself – Ed Sheeran/Bieber Park Life – Blur Midnight At The Oasis – Brand New Heavies Moves Like Jagger – Maroon 5 Teenage Dirtbag – Wheatus Two Princes – Spin Doctors Uptown Funk – Bruno Mars Valerie – Amy Winehouse

Setup & Performance:

Set up time needed?

1 hour minimum. Ideally 90mins

How much space needed?

At least 4m x 3m ideally 5m x 4m for the full band

At least 3.5m x 2.5m for the four piece band

At least 3m x 2m for the trio.

At least 2m x 1.5m for the duo

Set Lengths?

Flexible to suit the event agenda, but usually one of the following:

2 x 60 mins

3 x 40 mins

2 x 45 mins

1 x 90 mins

The post LeFunk! – Wedding Band and Party Band appeared first on E-Bizda International Business Directory.

source https://www.e-bizda.com/listing/lefunk-wedding-band-and-party-band/

#InternationalBusinessDirectory

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jessicakehoe · 5 years

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From the FASHION Archives: The Rich Essence of Oscar de la Renta from the Spring 1981 Issue

Since its launch in 1977, FASHION magazine has been giving Canadian readers in-depth reports on the industry’s most influential figures and expert takes on the worlds of fashion, beauty and style. In this series, we explore the depths of our archive to bring you some of the best fashion features we’ve ever published. This story, originally titled “Opulence and the Man” by David Livingstone, was initially published in FASHION’s Spring 1981 issue.

It used to be that Oscar de la Renta was known as an eminence in the republic of American fashion. Recently, his réclame has gone far beyond that, thanks to a cover story in The New York Times Magazine last December. Along with his wife Françoise, he became perhaps even more widely known as a mover is auspicious circles, a star of high society. It was impossible to avoid the impression given in the piece that the de la Rentas had no time for anyone less than the “very rich, very powerful and very gifted.” The implication was that Oscar de la Renta was some kind of operator, dealing friendship and trading on charm. In short, it put me on my guard at the aspect of meeting him.

“He’s very charming, very attentive – even if the most dreadful person in the world has him cornered.”

Of course, one of the most awesome things about the press is the way it can plant expectations and nourish attitudes on hearsay. Not that one didn’t have other reasons to wonder about de la Renta’s sincerity. I remembered that Jack Alexander, his administrative assistant, had once been reported as saying, “He’s very charming, very attentive – even if the most dreadful person in the world has him cornered.” Besides, in the advertisements used to launch his perfume in 1978, with the grateful model saying, “He’s been my designer and he’s been my friend,” it seemed the word “friend” had been thrown around a little loosely.

After only a few minutes on the premises of his thriving business on New York’s Seventh Avenue, aspects of de la Renta’s reputation are immediately verified. He is clearly familiar with the famous. Alexander is on the phone with a reporter who wants to know whether Nancy Reagan has bought anything there recently. (Though the First Lady is better known for wearing Adolfo and Galanos, she is the kind of customer one rightfully expects of de la Renta. After all, he is known to dress Nancy Kissinger.) And a casual glance at his secretary’s Rolodex index finds it open at the listing of a famous movie producer.

But besides this evidence, there is another, and possibly more accurate, clie to the nature of the man I am about to meet. Lying on the glass table in the office area just outside de la Renta’s studio is a seed catalogue. Trusting instantly that it belongs to him, I take it as a reassuring augury of his better nature. Blessedly, my intuition is corroborated by experience, and I only have to enter his studio and take a seat beside his desk to discover that his personal magnetism is genuine, not just some unctuous promotional device. Confronted simultaneously by the ringing of the telephone and my arrival, de la Renta immediately displays civilized priorities. Ignoring the machine’s racket, he says, “That’s alright, we can talk.” Contrary to preconceptions one might have about anybody who occupies a leading position in the beau monde, he shows none of the pushiness or edginess of the professional social climber always on the lookout for ways to take advantage. Rather, he is calm, personable, a touch bashful and entirely suave. Overall, his style is subdued. He is wearing a grey pinstripe suit (his own label visible on the inside pocket), a white shirt striped with a red that is deep enough to be discrete, brown belt and shoes, and as is his custom, a tie. Talking, he leans backward, not forward. His voice is softly accented, occasionally revealing his hesitancy in a stammer, Physically, his outstanding feature is his head. With greying curls combed back, his head’s symmetrical shape and and color, the result of Latin blood and recent sun, make it as pleasing to the eye as a brown egg.

Unavoidably, de la Renta’s attention must sometimes be divided. His assistants have questions. Garments are brought in from the sample room for his approval. His lawyer, Peter Tufo, is trying to reach him. But he apologizes for every interruption. Once, when he has to leave the room to attend to other business, he expresses his regret with a reassuring pat on my shoulder, and the gesture seems neither condescending, nor contrived. And when he has to take the phone, one is never made to feel like an intruder. In fact, I eavesdrop shamelessly. “Hello, Blassie? How are you? Happy New Year.”

Like Bill Blass, whom he regards as by far his closest friend among fellow designers, de la Renta emerged on the New York fashion scene in the ‘60s. Despite the success of earlier luminaries such as Norman Norell, Claire McCardell, Adrian, Pauline Trigere, American design was still thought to be innately, inferior to anything from Europe. It took a new generation, including Blass, Geoffrey Beene, de la Renta, as well as less enduring talents such as Rudi Gernreich and Jacques Tiffeau, to establish New York as a fashion capital comparable, in prices and prestige, to Paris. Foregoing the elitist couture tradition, they choose to be accessible and diverse, and become household names. Now, in addition to the main line of costly ready-to-wear, de la Renta is responsible for a lower-priced line, with the emphasis on day wear, that is made in Hong Kong and marketed under another label, Miss O. His licensing arrangements cover 18 product areas, including furs, men’s wear and, optical frames, sheets, perfume, jewelry, and jeans. There are also special licensing arrangements with specific stores in Mexico and Japan. Now, the retail volume of his ready-to-wear lines is $25-million; licensing arrangements bring in $250-million.

He fairly glows when he tells of the last time he was in Japan and Takanohana, a sumo champ and cultural hero, paid him the honor of attending his fashion show.

For all the many facets of his industry de la Renta is not given to fuss or panic. With a summer collection due to be shown in less than three weeks, he has just come back from his Christmas to learn that the fabric he was counting on is not going to be ready. His aplomb is almost unnerving. “This is the time when you have to be creative and do something else,” he says. “We have to scratch the whole program ad change the idea of what the collection will be.” Instead of badrapping the Japanese suppliers who failed to deliver the goods, he seems happier to talk about his fondness for that country and his passionate interest in Sumo wrestling. On the wall next to his desk, there are Polaroids that show him beaming in the company of some of those hefty, ponytailed athletes who In fact, were the inspiration for the printed fabric that didn’t arrive. He fairly glows when he tells of the last time he was in Japan and Takanohana, a sumo champ and cultural hero, paid him the honor of attending his fashion show.

On another wall of the studio hangs a collection of framed, front-page stories from Women’s Wear Daily that attests to his achievements at home. But even more impressive than the decor of the studio is the atmosphere. Three assistants work at separate tables, contentedly absorbed by the business at hand. There are also a student from the Rhode Island School of Design, who will be spending time observing and taking part in a top-flight design operation, and Isabelle Oduber, the model on whom de la Renta first his collections, who comes and goes wearing a smock, dark glasses and a bright smile. At lunch-time, food is ordered by phone, and the student welcomes the news that “the company pays for lunch.”

The mood of the studio seems to derive from de la Renta himself. He maintains a bustling pace while still managing a courtly quietude and never resorting to imperial airs. Although he has a high profile as a designer and socialite, he is, in person, completely unassuming. Asked about his Christmas holidays, he says, “I was in the Dominican Republic. That’s where I was born. I have a house there.” He appears completely unmindful that Vogue has devoted pages to a detailed description of his ocean-front villa or that the basic facts of his biography are matters of public record, unearthed with minimum research. He was born in Santo Domingo in 1932, has six sisters and a father who sold insurance and who was not overjoyed when his only son decided to be a painter and went to study in Madrid. Following the death of his mother, his father stopped sending money, and, to earn an income, de la Renta started doing fashion illustrations. Eventually, he found work at Balenciaga’s house in Madrid. While he says, “The first quality clothes I ever held in my hands were Balenciaga’s,” he conscientiously points out that the great Spanish courtier was based in Paris and the business in Madrid was run by his sister. When de la Renta himself went to Paris, he worked with another Spanish designer, Castillo, for three years. In January, 1963, he moved to New York.

To hear de la Renta say, “My sisters are all housewives. They have no aspirations of any sort”; to notice that a book called Harems is one inspiration for work on his summer collection; or to judge from his recurring forte, lavish evening wear, one might get the idea that he is only used to females in their passive modes. On the contrary, his career in the United States has been marked by associations with a variety of hard-working women. One of his first friends in America was Mary McFadden. Now a designer herself, McFadden at that time was doing public relations for Christian Dior, and she arranged for one of de la Renta’s first job interviews. But following the advice of another friend, Diana Vreeland, he finally accepted an offer from Elizabeth Arden to design couture for her company.

Elizabeth Arden, born in Woodbridge, Ontario, as Florence Nightingale Graham before turning into the legendary cosmetics tycoon, was not known for being fluffy. Notoriously difficult to work for, she showed de la Renta a more companionable side of her nature, inviting him to her house for dinners, when she would sport her favourite dress, a pink tea gown of Valenciennes lace over satin. The gown was worn to frailness, and, reciprocating her kindness, de la Renta made her a new one. “And when I used to go and dine, she still was wearing the old one. And I said, ‘You don’t like the tea gown I made you? It doesn’t fit? Well, it’s exactly the same.’ And she said, ‘Yes, I like it, but I’m waiting to wear it on a special occasion.’”

“Nobody understands dressy clothes better than Oscar de la Renta does.”

Elizabeth Arden was buried in her new pink tea gown. However, the women have favored de la Renta’s creations, appearing with his own label since 1965, have had livelier functions to attend. From the beginning, his extravagant evening costumes have appealed to the universal urge to get dressed up and go places. In 1967, he designed gypsy fantasies and won his first American Fashion Critic’s Coty Award; he won again in 1968 for garments inspired by Belle Epoque. In 1974, Women’s Wear Daily published a list of his customers which was largely comprised of prominent party girls. And in the approximately 82 garments shown last November for this spring, unrestrained luxury abounds. While there are surprisingly uncomplicated combinations of pants and middy-blouses (with subtly detailed yokes in the manner of historic Russian sailors’ outfits), harder to miss are the voluminous taffeta skirts, vividly coloured silk-satin organza dresses ruffled to the floor, bouncy lace blouses and opulent evening jackets with elaborate embroidery. These are clothes that announce themselves with bugles and castanets. Even when done in a delicate palette of pale blue and white, they are made for noticeable entrances. Show up at a darkened door in one of these, and doubtless you’d have them thinking that the summer sky had just dropped by.

“Nobody understands dressy clothes better than Oscar de la Renta does,” says Margery Steele, merchandising manager for The Room at Simpsons and an avid supporter. In Canada, retail prices of his garments range from $600 to $5,000, but, as Steele points out, there is never any trouble finding people to buy them, because “de la Renta understands the lifestyle.” He himself is used to the kind of occasions where grandstand chic is called for. Françoise de la Renta, her husband’s senior by nine years, now wears only his designs, though nothing says she has to and not everything coincides with her taste. “A lot of the clothes I design are not really for her, in the sense that she really doesn’t like to be very dressed up,” says de la Renta. She likes to wear very understated clothes, and a lot of my clothes are not very understated.”

Formerly editor of French Vogue, a contributing editor still fo American Vogue and a celebrity in her own right, Françoise de la Renta appears frequently enough in the pages of Women’s Wear Daily that, even without having met her, one can catalogue her preferences, usually expressed with an engagingly plain-spoken zest. She likes chocolate, never eats meat and doesn’t plan on plastic surgery. She is enthusiastic about food, and has so many sheets that she can go a whole year without seeing the same one twice. Though not extravagant in appearance – photographs typically portray her with hair drawn back and gathered neatly at the nape of her neck – she’s a disciple of sumptuous living. Invited to participate in a course called “Ultimate Chic,” given at New York’s Hunter College in 1978, she spoke to the class of the advantages of entertaining twice a week. That way, flowers and uncorked wine can be used up. And she once defined quality for W as “the best of anything – even a perfect potato.”

Although Françoise de la Renta is not directly involved in her husband’s business, the cover story in The New York Times Magazine took pains to depict her as a woman of influence. And there have been other public suggestions that she has determination for two. “If anyone hurts Oscar…I am like a tigress,” she told Women’s Wear in 1971, and last summer, when illustrator-turned-designer Michaele Vollbracht was all the news, W ran a Vollbracht caricature that depicted a puppet-sized Oscar on Françoise knee. The only sign I see of any role she plays in her husband’s affairs appears when de la Renta tells his secretary she doesn’t have to bother with hotel reservations in Washington for the inauguration. Françoise has made the arrangements. They’ll be staying with the Harrimans.

Back in 1967, when Truman Capote threw his legendary black and white ball, Vogue carried reportage by Gloria Steinem and the photographs included Françoise de Langlade” in pussycat masks. In the ‘80s, however, social life seems destined to be more serious and to rely more ostensibly on political forces. Until, Teddy Kennedy dropped out of the race, de la Renta supported Kennedy’s bid for the presidency. After that, he supported Reagan. “Arthur Schlesinger, a very close friend, made a joke about me and said I must be a very wise man to be able to make a 180-degree turn. The fact is, I’m really non-political. I vote because of the people I like and not really because of the party I belong to.” One person that he decidedly did not like was Jimmy Carter. In 1976, he told WWD, “I can’t stand that famous smile. I can’t stand it. There’s something about it – I don’t know – like a snake’s smile.” De la Renta grins when he’s reminded of the statement. Occasionally, as a designer, it has been suggested he is overly influenced by Europe, but there seems to be no question that, when it comes comparing Carter to a snake, he was the first on the block.

Like many in the fashion industry, de la Renta thinks that Nancy Reagan will be good for business. “The thing was, there was very little, fashion-wise, that you could do with Mrs. Carter.” Mrs. Reagan has worn de la Renta “from time to time,” and what’s even more significant, her spendthrift ways may be taken as some kind of official seal on the practice of conspicuous consumption from which all designers stand to profit.

He also speaks of the tropical flowers, of the strong colors that have influenced his “Latin eye” and of people whom he has not forgotten.

As clear as it is that de la Renta is no stranger to rich living, just as strikingly he reveals himself to be capable of enjoying more refined pleasures such as horticulture, friendship and music. During the holidays spent at his Dominican home an hour and a half away from Santo Domingo, he played tennis, planted a rose garden and tried to fatten up his cherished friend, Diana Vreeland, whom he describes as “the most fascinating fashion personality of this century. She made jokes about me forcing her to eat like a goose. And I said, ‘Not a goose, like a beautiful turkey.’” He also speaks of the tropical flowers, of the strong colors that have influenced his “Latin eye” and of people whom he has not forgotten. “The nice thing about going there is that a lot of my childhood friends have houses very close to me.”

No less affectionately, de la Renta praises the beautiful view of Central Park he gets from his New York apartment and he is never more becoming than when describing the white garden he has planted at his country home in Connecticut, where he spends every weekend. He likes to read, particularly biographies and 19th-century travel books. He enjoys opera and attends the Salzburg Festival every year. “I love really all the Spanish singers, Placido Domingo, a friend of mine, Victoria de Los Angelos, Montserat Caballé, Teresa Berganza.” And he is fond of good movies, no matter where they come from.

Discussing the article in The New York Times Magazine, he says, “I thought it was a very nice story. If I had written it myself, I would have written it differently. I think it showed one side of our lives. It tells really very little about ourselves as human beings.” Nowadays, the media, deferring to attention-grabbing angles, are not apt to provide subtle portraits. Customarily in stories about Oscar, Françoise has been used as the most provocative hook. She’s endured the kind of innuendo that Yoko Ono used to have to put up with, as if, even in these post-feminist times, there was something unseemly about a woman exercising power. Wisely, however de la Renta does not damage his dignity whining about being mistreated by the press. He seems perfectly happy being a star, accepting with elegance the price he sometimes pays for it.

The post From the FASHION Archives: The Rich Essence of Oscar de la Renta from the Spring 1981 Issue appeared first on FASHION Magazine.

From the FASHION Archives: The Rich Essence of Oscar de la Renta from the Spring 1981 Issue published first on https://borboletabags.tumblr.com/

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klara-radio · 7 years

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tracklist:

The Tiger Lillies: Just Another Day (Comp. Martyn Jacques) - Cold Night in Soho - Misery Guts Music TIGERLP 035 - [0:02:15]

Bang on a Can All-Stars: A Wonderful Day (Comp. Anna Clyne) - Field Recordings - Cantaloupe CA21108 - [0:05:01]

Gonzo: Agora Baixou o Sol (Comp. Gonçalo F. Cardoso) - Antologia de Música Atípica Portuguesa Vol.1: O Trabalho - Discrepant ?CREP 35 - [0:04:37]

Luar Domatrix: Bocadinho de Alentejo (Comp. Rodolfo Brito) - Antologia de Música Atípica Portuguesa Vol.1: O Trabalho - Discrepant ?CREP 35 - [0:03:43]

Anonieme zangeres uit Beira Baixa : Cançao de Embalar (Comp. Trad. Portugal) - Lullabies and Children's Songs - Unesco 8102 - [0:02:44]

Hesperion XX; Jordi Savall : Meis olhos van por lo mare (Comp. Anoniem (uit Portugal)) - Dinastia Borgia - Alia Vox AVSA9875 - [0:02:25]

Amina Alaoui: Amours ou trop tard me suis pris (Comp. Blanche de Castille) - Alcantara - Auvidis Ethnic ?- B 6872 - [0:05:52]

Tinariwen: Arhegh ad annàgh (Comp. Tinariwen) - Elwan - Wedge ?117 - [0:02:48]

Chris Thile & Brad Mehldau: Tabhair dom do Lámh (Comp. Ruaidri Dáll Ó Catháin) - Chris Thile & Brad Mehldau - Nonesuch 558771 - [0:04:22]

Garth Knox & The Saltarello Trio: Hatach (Comp. John Zorn) - Leonard: The Book of Angels, Volume 30 - Tzadik 8350 - [0:06:21]

Joan Jeanrenaud: The Song of Songs (for cello and electronics) (Comp. Karen Tanaka) - Metamorphosis - New Albion 120 - [0:08:16]

Lithuanian National Symphony Orchestra: Scintila (Comp. Egidija Medeksaite) - Textile - Music Information Centre Lithuania MICLCD092 - [0:12:12]

Burial: Forgive (Comp. Burial) - Burial - Hyperdub HDBCD001 - [0:03:08]

Brian Eno: An Ending (Ascent) (Comp. Brian Eno) - Apollo - Atmospheres & Soundtracks (Remastered) - EG Records EGCD 53 - [0:04:26]

Rudy Trouvé: Slow dancers (Comp. Rudy Trouvé) - Mauro Pawlowski, Rudy Trouvé, Craig Ward: Volume 2 - ?Jezus Factory Records ?JF047 - [0:01:13]

Elko B.: Karabair (solo) (Comp. Elko Blijweert) - I Bambini Di Basilisco - Ekster EKS013 - [0:03:49]

Rudy Trouvé: At a different speed (Comp. Rudy Trouvé) - Mauro Pawlowski, Rudy Trouvé, Craig Ward: Volume 2 - ?Jezus Factory Records ?JF047 - [0:01:44]

Brlâab: The Trellis (Comp. Brecht Ameel) - Boogie throb - cdr Les Champs Brûlent - [0:03:38]

Ande Somby: Gufihttar (underworld fairie) (Comp. Trad.) - Yoiking with the Winged Ones [with Chris Watson] - Ash International ?- Ash 11.2 - [0:05:07]

Latvian Radio Choir, Kaspars Putnins: The Angels (Comp. Jonathan Harvey) - Harvey - The Angels; Ashes Dance Back; Marahi & The Summer Cloud's Awakening - Hyperion CDA67835 - [0:05:03]

LABtrio: Lumen (Comp. LABtrio) - Nature City - Outnote Records 624 - [0:05:31]

The Eye of Time: L'enfer ce n'est pas les autres c'est moi (Comp. Marc Euvrie) - Myth I: A Last Dance for the Things We Love - Denovali Records 262 - [0:05:46]

Maurizio Abate & Matteo Uggeri: Part V (grandma) (Comp. Maurizio Abate; Matteo Uggeri) - Beyond Time - Time Released Sound TRS067 - [0:05:17]

Claron McFadden; Massot-Florizoone-Horbaczewski: Diane (Comp. Tuur Florizoone) - Secrets - Aventura Musica 08 - [0:07:24]

LABtrio: Prelude and Fugue in B Minor, BWV 893: II. Fugue (Comp. Johann Sebastian Bach; LABtrio) - Nature City - Outnote Records 624 - [0:06:01]

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sankey2608 · 4 years

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BGS vs RM Dream11 Prediction, Spanish Liga ACB 2020

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