#Robert Jankel

[sexdrugsnracknpinion]

Cars That Time Forgot: Jankel Tempest

[nebylitsa]

robert smullyan sloan / jankel adler

[joseandrestabarnia]

Título: Los dos Roberts: Colquhoun y MacBryde Autor: Ian Fleming (1906-1994) Fecha: 1937–1938 Medio: óleo sobre lienzo Medidas: Al 102 x L 127,2 cm Número de acceso: NMC/020 Método de adquisición: Comprado al artista, 1966

Ian Fleming estudió en la Glasgow School of Art (GSA) entre 1924 y 1929. Después de viajar a Londres, París, el sur de Francia y España, Fleming regresó a Glasgow y se unió a la GSA como profesor en 1932. Permaneció en el personal hasta el estallido de la Segunda Guerra Mundial y regresó para dos períodos adicionales de enseñanza en 1941 y 1946. Aunque conocido principalmente como grabador y acuarelista, Fleming completó este sorprendente doble retrato de los pintores Robert Colquhoun y Robert MacBryde en 1937/1938. La pintura se exhibió en la Real Academia Escocesa de Edimburgo en 1938 y ganó el prestigioso Premio Guthrie. Colquhoun y MacBryde eran artistas talentosos por derecho propio y después de graduarse de la GSA se mudaron a Londres, donde compartieron un estudio con John Minton y Jankel Adler.

Información e imagen de la web de Art Uk.

[genderfluid-dynamics]

Last song: freebird! overheard at a toy store while i was looking at planes and lego sets

Currently watching: the extended morton jankel cut of “super mario bros.” (1993). it’s fantastic! the new cut changes the context of a few scenes in a really interesting way. also i love how grimy and on fire and full of tetanus so many of the sets are. they really don’t make ‘em like that anymore

Currently reading: “the past through tomorrow”, by robert a heinlein. it’s a major collection of his so-called future history short stories that add a lot of background for later stories. i’m enjoying it a lot so far. “the roads must roll” in particular was a lot more thought-provoking than i expected.

Current obsession: i honestly don’t know! i mean, i have my usual permanent obsessions, but i’m mostly fairly floaty and unsettled right now. there’s a lot of Big Challenges coming up in the next few months, so i don’t really have much capacity to be into anything too much, except maybe the trusted combination of weed, prog rock and food crime.

Tag Someone You Want to Get to Know

tagged by @gitli !

@best-beelieve @ilackallhonour @wodnes--coyotl @eivor-wolfkissed @genderfluid-dynamics @celepeace @serbamf @anotherdayforchaosfay @lokahjarta

Last song: tulsa's last magician by willi carlisle, because apparently it's a Songs That Take Me From Zero To Crying in sixty seconds flat kind of morning

Currently watching: survivor 💀 i have a survivor personality now. it's spouse's fault.

Currently reading: i just (JUST) finally finished Pontypool Changes Everything after putting off the last fifteen pages for a century. i'm different now. i Was reading The Silent Cry: Mysticism and Resistance by Dorothee Soelle but idk, i'm struggling a little bit to get into it. i feel like the timing isn't quite right, so when i'm done chewing on pontypool i might switch to waiting for god by simone weil. or one of the 10,000 papers from Academia i have saved for "later." my next fiction book will probably be. piranesi? or moby dick, the whale weekly folks look like they're having fun.

Current obsession: i just started trying in earnest to play pathologic again so if that goes well i expect it to take over my life for the next 3-6 months. otherwise. knitting and crochet. half my wips are in time out for reasons of Need To Wash Them but check out this lace scarf i'm working on

[carsthatnevermadeitetc]

Ferrari 400i Le Marquise, 1978, by Robert Jankel. A one-off 4-door saloon based on the Pininfarina-designed Ferrari 400i with an extended wheelbase by the British coachbuilder. Apparently the car still exists and is in Saudi Arabia awaiting restoration. Meanwhile German model-maker Autopioneer have created a scale model that you can buy here

[90smovies]

[80smovies]

[vertical-captures]

[rainingmusic]

Chaz Jankel - Number One

[ozu-teapot]

Films Watched in November 2021

The Web | Michael Gordon | 1947

Dragged Across Concrete | S. Craig Zahler | 2018

Framed | Richard Wallace | 1947

Klute | Alan J. Pakula | 1971

The Mob | Robert Parrish | 1951

D.O.A. | Rudolph Maté | 1949

D.O.A. | Annabel Jankel / Rocky Morton | 1988

Dangerous Crossing | Joseph M. Newman | 1953

Gun Crazy | Joseph H. Lewis | 1950

Hell Drivers | Cy Endfield | 1957

Moss Rose | Gregory Ratoff | 1947

Devil in a Blue Dress | Carl Franklin | 1995

Affair in Trinidad | Vincent Sherman | 1952

Tight Spot | Phil Karlson | 1955

Murder by Contract | Irving Lerner | 1958

The Long Goodbye | Robert Altman | 1973

American Gigolo | Paul Schrader | 1980

Stage Fright | Alfred Hitchcock | 1950

Johnny O'Clock | Robert Rossen | 1947

The Dark Past | Rudolph Maté | 1948

Vortex | Beth B / Scott B | 1982

Convicted | Henry Levin | 1950

Murder, My Sweet | Edward Dmytryk | 1944

Between Midnight and Dawn | Gordon Douglas | 1950

Mona Lisa | Neil Jordan | 1986

Phffft | Mark Robson | 1954

The Criminal Code | Howard Hawks | 1930

Man Bait | Terence Fisher | 1952

The Blue Gardenia | Fritz Lang | 1953

Bold = Top Ten

Some notes: Bar two (Phiffft and The Criminal Code) all the films this month I watched “for” Noirvember, but were they all noirs? Is Moss Rose Gothic / Gaslight Noir or a Victorian murder mystery, if Howard Hawks' 1930 film The Criminal Code isn't considered a Noir then how come it's almost identical 1950 remake Convicted is? In any case they all get the #Noirvember tag and as for posting caps there will be a little Noirvember overspill into the start of December as there has been other years!

[brokehorrorfan]

Blu-ray Review: Tales from the Darkside: The Movie

Tales from the Darkside: The Movie is, of course, a feature film based on the horror anthology TV series, but many fans also recognize it as the true Creepshow 3. Unlike the eventual third installment, which was made years later to cash in on the title recognition, Tales from the Darkside involved many of the crew members behind the first two Creepshow films. George A. Romero served as a writer, bestowing directorial duties to frequent collaborator John Harrison (who served as first assistant director of Creepshow and Day of the Dead). Produced independently, the film was released by Paramount in 1990, just two years after the series wrapped its four-season run.

In lieu of repeating Creepshow's comic book inspirations, Tales from the Darkside: The Movie adopts a Grimm's fairy tale approach. The Hansel and Gretel-esque wraparound, written by Michael McDowell (Beetlejuice, The Nightmare Before Christmas), stars Debbie Harry (of Blondie fame) as a suburban housewife preparing for a dinner party. The main course? A young boy (Matthew Lawrence, Mrs. Doubtfire). In an attempt to prolong his life, the imprisoned child regales his captor with three spooky fables.

McDowell adapts Arthur Conan Doyle's "Lot 249" short story for the first segment. Steve Buscemi (Reservoir Dogs) plays Bellingham, a grad student who brings a 3,000-year-old Egyptian mummy back to life to exact revenge on his preppy classmates - Andy (Christian Slater, Interview with the Vampire), Lee (Robert Sedgwick, Die Hard with a Vengeance), and Susan (the big screen debut of Julianne Moore, The Lost World: Jurassic Park) - who conspired to cheat him out of a fellowship.

Originally planned for Creepshow 2, the middle segment sees Romero adapting Stephen King's "The Cat from Hell" short story (later collected in Just After Sunset). In it, a rich, wheelchair-bound old man, Drogan (William Hickey, Christmas Vacation), hires a hitman, Halston (David Johansen, of the New York Dolls fame), to eliminate an unlikely target: a black cat, which Drogan alleges already killed the manor's other three inhabitants.

The final story, "Lover's Vow," is the strongest. McDowell wrote it based on the Japanese legend of Yuki-onna. It centers on Preston (James Remar, The Warriors), a struggling artist whose life turns around after a run-in with a giant, talking gargoyle. Preston is sworn to secrecy in exchange for his life. 10 years later, he must face the consequences when he shares the secret with his wife, Carola (Rae Dawn Chong, Commando), who he met that fateful night.

With polished production values, a star-studded cast, and top-notch special effects, Tales from the Darkside: The Movie stands strong among the best horror anthologies. A rarity for the subgenre, it's fairly consistent in terms of quality among the segments - arguably even more so than either Creepshow film. While Tom Savini's handiwork is missed, there are no complaints about the special effects accomplished by KNB EFX Group (From Dusk Till Dawn, Scream), with the legendary Dick Smith (The Exorcist, Scanners) serving as consultant. The gargoyle is their most impressive feat, with an expensive animatronic head plus a gnarly transformation sequence, while "Cat from Hell" showcases the goriest scene.

The wraparound helps the film play as a cohesive piece, but Harrison worked with cinematographer Robert Draper (Halloween 5: The Revenge of Michael Myers) and the composers to give each segment a unique aesthetic. The wraparound offers a modern look and features music by Donald Rubinstein (Martin), including a reimagined, orchestral version of his theme from the TV series. "Lot 249" draws inspiration from 1940s adventure cinema with a warm color palette and an orchestral score by Jim Manzie & Pat Regan (Leatherface: Texas Chainsaw Massacre III). "Cat from Hell" embraces film noir with shadowy camerawork and blue-tinted flashbacks (with clever, in-camera transitions) and an atonal score by Chaz Jankel (D.O.A.). "Lover's Vow" features a cool color palette and soft lighting to reflect the romance, which is echoed in Harrison's own music.

Tales from the Darkside: The Movie has received a Collector's Edition Blu-ray from Scream Factory. The film’s existing high definition transfer is presented with DTS-HD Master 5.1 and 2.0 audio options, along with two audio commentaries. The first is a new track by co-producer David R. Kappes. Perhaps better suited for the documentary portion, his memory is understandably hazy after 30 years, but he looks back fondly on the film plus shares anecdotes about working on Jaws 3-D and Harrison's Dune. The second commentary is an archival track with Harrison and Romero recorded for a DVD release circa 2000. It's a warm chat between longtime friends.

The Blu-ray is worth the upgrade for Tales Behind the Darkside: The Making of Four Ghoulish Fables, a feature-length documentary featuring Harrison, Remar, Chong, and various crew members. It's broken up into six parts (one for each segment, pre-production, post-production, and the release/legacy), totaling over 100 minutes. It's a joy to see Scream Factory return to the cohesive, documentary format rather than individual interviews. Michael Felsher was the perfect candidate to pull it off; not only is his Red Shirt Pictures is responsible for many of the best Blu-ray extras, but he also helmed Just Desserts: The Making of Creepshow. The disc also includes 11 minutes of behind-the-scenes footage from KNB, the theatrical trailer, two TV spots, three radio spots, a still gallery, and a behind-the-scenes gallery.

Tales from the Darkside: The Movie will be released on Blu-ray on August 25 via Scream Factory.

[fuckyeahwomenfilmdirectors]

10 Most Anticipated Holdovers of 2019

The ten films with festival releases or releases in their home countries in 2018 I can’t wait to see in 2019.

Birds of Passage dir. Cristina Gallego & Ciro Guerra

I am as tired as anyone of films about Latin Americans focusing on the drug trade, but Birds of Passage promises to bring a new and careful eye to what could have been a stereotypical tale. Already shortlisted for the Oscar’s Best Foreign Language Film category representing Colombia the film, which debuted at Cannes, focuses on a Wayuu family whose fortunes rise along with the illegal trade of drugs trafficked out of Colombia.

Fast Color dir. Julia Hart

Starring one of my favourite actresses, the always stellar and frequently underused Gugu Mbatha-Raw, the film debuted at the 2018 SXSW film festival where it garnered praise for being a low key indie about a woman with supernatural abilities who can create rather than destroy. Despite stellar reviews this sort of shockingly disappeared from the festival circuit. Nevertheless it was able to get distribution meaning that I’ll finally get a chance to see it in 2019.   

High Life dir. Claire Denis

This was pitched as Denis’s most commercially accessible film to date, but when the film finally premiered at the 2018 TIFF it sounded like one of her strangest. Set in outer space the film stars Robert Pattinson as a convict put through strange reproductive experiments. Reviews seem to indicate it’s a polarizing film, but no matter how strange the material it sounds like something I can’t wait to watch.  

Little Woods dir. Nia DaCosta

This was one of my top 18 most anticipated films of 2018 when it debuted simply because I like Tessa Thompson and Lily James who play sisters who are forced into one last drug run funnelling prescription medication from Canada into the U.S. Since the film premiered at Tribeca it was quickly picked up for distribution, but perhaps an even more important indicator of the film’s quality is that DaCosta was plucked from obscurity to direct the reboot of Candyman for Universal, a still staggeringly rare occurance for women directors.

Mouthpiece dir. Patricia Rozema

Based on the award-winning hit play written and performed by Amy Nostbakken and Norah Sadava, the film adaptation has them resuming their (one) role as Cassandra, a woman struggling over writing the eulogy of her mother who gave up her career to raise children. Rozema is one of those low-key directors who has steadily put out masterful work over the years and the film was named one of the top 10 Canadian features of 2018 by TIFF.

The Nightingale dir. Jennifer Kent

After her debut film The Babadook turned into a surprise hit Kent had plenty of offers to go to Hollywood and make mainstream films. Instead she returned to Australia and made a revenge thriller about a young Irish convict looking to avenge her family. The film premiered at the 2018 Venice Film Festival, the only film directed by a woman to appear in official competition, and went on to win the Special Jury Prize.  

Rafiki dir. Wanuri Kahiu

Kahiu’s film has made waves since its Cannes premiere. It first made headlines as the first Kenyan film to be screened at Cannes only to have this positive news quickly eclipsed by the news that the film, about two teenage girls who fall in love with each other, had been banned in Kenya where homosexuality is illegal. Kahiu successfully sued the Kenyan film board to allow a limited screening for Oscar eligibility, and is currently in the middle of a second lawsuit to have the ban permanently overturned.

Tell It To the Bees dir. Annabel Jankel

Based on the book of the same name, Jankel’s film follows two women, a small town doctor (Anna Paquin) and a beekeeper (Holliday Grainger) who fall in love in rural 1950s Scotland. The stills from the movie are giving me Desert Heart type vibes which is more than enough to make me want to check this one out. 

Vita & Virginia dir. Chanya Button

I first heard about this film sometime in 2014 back when Romola Garai was set to play Vita Sackville West and Sacha Polak directing.  Let 2019 be the year I finally get to see it! A historical biopic about the romance between writers Vita Sackville-West (Gemma Arterton) and Virginia Woolf (Elizabeth Debicki in pitch perfect casting!) the stills from the movie are already more than enough to pique my interest.

The Weekend dir. Stella Meghie

Canadian director Meghie has had a meteoric rise putting out three films in the last three years. The Weekend is her latest effort, a light-heart romcom starring SNL breakout Sasheer Zamata as a woman who gets into a romantic entanglement with her ex after she decides to spend the weekend with him and his new girlfriend. I’ve enjoyed Meghie’s previous two films and as a lover of romcoms there sounds like no reason I won’t enjoy this one as well.

[nomanwalksalone]

ARNYS ET MOI AND ME

by Réginald-Jérôme de Mans

How do you remember something you never knew? The orphaned opening words of Arnys et moi, journalist Philippe Trétiack’s memoir of the late and legendary Paris shop Arnys, raise that question: “I never stepped in. I never bought anything there. And now, it’s too late.” This ellipse adds romance to Trétiack’s incomparable book, which contrasts the rise of the family behind Arnys with Trétiack’s own. Like the Grimberts of Arnys, Trétiack’s ancestors were Jews from Eastern Europe who immigrated to Paris at the beginning of the 20th century and ended up the garment trade.  But where the Grimberts’ boutique became, to some, synonymous with a neighborhood, an attitude, a philosophy, and even Paris itself, the boutique tended by Trétiack’s mother stayed a neighborhood mediocrity, a sinkhole of time, money and, in Trétiack’s telling, of lifeforce itself as he describes how his mother kept shop despite the hate she had for the shop, for the clothes she sold and for their potential customers.  A far cry from the supposed intellectual and political salon that was Arnys.

How do we remember Arnys? Despite Trétiack’s professed unfamiliarity with the shop, readers may never encounter a more knowledgeable and measured historical account of the Arnys shop: the implantation in Paris of educated left-wing garment dealer Jankel Grünberg, whose successes across multiple shops allowed him to settle on the very established avenue Foch in the 16 arrondissement; the immigrant’s cultural emphasis on education that led his sons Léon and Albert to pursue studies on the at once more aristocratic and artistic Left Bank; the polio that derailed one son’s medical career and drove both to enter the family trade, this time in a Left Bank shop space close by the colleges and medical schools he had been attending; the burgeoning family success; the horrors of the Second World War, which saw Jankel and his wife die in Auschwitz; the evolution of Arnys the shop and the brand from a neighborhood corner in a sleepy part of Paris to the epicenter of a certain hip bohemia, of a self-conscious rebellion, of a subversively elegant set of limousine liberals (the loose equivalent of the French gauche caviar), and finally of a dated, sated establishment… before communion with luxury conglomerate LVMH forced Arnys’ transubstantiation into the nominal custom tailoring and shirtmaking arm of LVMH-owned brand Berluti. Even the mysterious name “Arnys” itself is finally explicated: the Grimberts (name eventually Frenchified) had moved into the space vacated by a shop named Loris; by coining a similar-sounding name for their new shop Léon and Albert hoped to attract, through confusion, some of the old shop’s former customers. 

Trétiack writes that it was the recent humiliating scandal of former French presidential candidate François Fillon that had sparked his interest in Arnys. Years after the Arnys shop had actually closed, Fillon made the papers for having accepted thousands of dollars in custom Arnys clothing paid for by Robert Bourgi.  Bourgi is a lawyer whose involvement in a shadowy-world of influence and intrigue between France and its former sub-Saharan colonies known as Françafrique has led members of the French political establishment to call him “radioactive.” According to the very entertaining French Vanity Fair writeup of the debacle, Bourgi would periodically drive Fillon over to the Berluti bespoke shop –  at Arnys’ old address -- when Fillon was feeling down and order him clothing, paid for in cold hard cash.  As a result, Trétiack writes, that shop now limits cash purchases to 1000 euros, or less than 20% of the price of a custom Arnys-by-Berluti suit.  Interestingly, Trétiack also suggests that the papers had referred to Fillon’s scandal at Arnys, rather than Berluti, not because they appreciated the academic distinction that Berluti custom clothing was created by the putative Arnys tailors, but because they feared losing LVMH’s enormous ad spend if they impugned an existing brand in the LVMH portfolio, Berluti, rather than the old brand Berluti had absorbed.

As Trétiack writes at the conclusion of his memoir, this exploration of Arnys allowed him to remember things from his own past that he had almost forgotten, yet felt so deeply.  In fact, ironically, Trétiack’s discussions of his own family’s trajectory are far cloudier (and shorter) than his descriptions of Arnys, no doubt because the latter involved researching and interviewing many of the people historically involved with the shop. Certainly, as Arnys et moi progresses, the personal memoir of Trétiack’s family comes to seem more and more exiguous compared to the gusto with which Trétiack describes not only the arrival of the Grimberts and Arnys, but the development of the garments and the ethos that made the shop an avatar of a sort of French exception, a prerevolutionary throwback, a haven for a certain set of the Parisian bourgeoisie as it wanted to see itself: deeply rooted in a timelessly elegant France of Enlightenment thought and local craft; intellectual without being sterile; a cosmopolitan of the fleshpots of the Sixth and Seventh Arrondissements, which at one time were famous bookstores, discreet art galleries and philosophers’ cafés. But today, Trétiack points out, former customers of Arnys also rue the passing of a certain clientele of the Café Flore, too.

How do I remember Arnys? Unlike Trétiack, I was a regular, if only occasionally profligate, customer of Arnys for the last decade of its existence, and knew it well for years before that, having been like Léon and Albert Grimbert a student in that neighborhood.  Like many of the habitués he describes, I used to stop in nearly every weekend. But those were not sufficient credentials to become part of the salon of intellectuals, esthetes and political figures Trétiack is only the most recent to describe. And as a guilty customer of the Flore for well over 20 years, I can attest that the shift in that café’s clientele to wealthy tourists and Eurotrash is by no means a recent phenomenon.  All that time ago, when as a student I would amble from my home on rue de Sevres past Arnys and its lovely windows to a rare treat at the Flore, it was already evident that the cultural landmarks of that area, those that Arnys claimed to be part of, had mostly disappeared in place of the boutiques of international luxury brands. There was very little left of the intellectual or countercultural long before Arnys itself ceased to be.

As a member of another diaspora, I know it is always my lot to be, in some way, an outsider wherever I am. Outsider that I am, I was shocked to find how closely Trétiack’s and my conclusions tracked: I am writing a book on vanished and vanishing French #steez, and occasionally wondered if a mutual friend like rag trader Ammar Marni, whom Trétiack interviewed for this book, had passed him my manuscript.  Like Trétiack, I concluded that Arnys incarnated a sort of French exception, a parallel universe where Beau Brummell had never imposed his modern English clothing style of simplicity of cut and restraint of color on the world. Arnys was a sort of escapism too lovely for we the uncertainly welcome to resist, a France as it would like to see itself, invented by an immigrant family.  

Arnys et moi laudably and interestingly lays out how Arnys constructed its myth, but occasionally strays into too eagerly believing some parts of that myth.  Trétiack spends a chapter or two lauding the 1940s invention of Arnys’ signature garment, the smocklike Forestière, and the cultural inspirations that led Arnys, in the wake of the Forestière, to create dozens of other garments inspired by the workwear and countrywear of France, as well as by classic French and Italian films of the 1950s and 1960s.  It’s only much later, towards the end of the book, that Trétiack mentions that that Arnys actually had remained a staid, Anglophile haberdasher until the 1990s, when the third Grimbert generation, brothers Jean and Michel, realized that ersatz Englishness was on the way out and that a contrived Frenchness (rich linings, beautiful and exotic materials, grandiosely theatrical designs, and a special notch in the lapel inspired by those created by the 1950s new wave of French tailors) could set the house apart. In other words, Arnys’ performative Frenchness, the thing that set it apart, is of quite recent vintage.  Trétiack also expounds in impressive detail on the magnificence and quality of every object Arnys sold, right down to the rarity of its handmade knives and the lushness of its pashmina scarves handwoven in Srinagar.  As something of a collector of artifacts of the places I write about, I’ve actually had the occasion to own and use items by these makers, including a Sauveterre knife and a scarf from Arnys’ supplier Kashmir Loom.  What Trétiack may not have realized is that the Arnys items were not just exquisite and luxurious, but were often incredibly delicate.  In the case of their handmade, hand-rolled seven-fold ties, they seemed to be deliberately more delicately and clumsily made than they needed to be in order to seem more handmade.  This seemed the case with a number of Arnys items.  Like Trétiack, I never became a bespoke customer of Arnys.  But here he and I diverge, as his words praising the current Arnys-Berluti cutter suggest he had not heard the pervasive and insistent words across the rest of the Paris bespoke population about the custom makers at Arnys. I’ll only note that the longtime Arnys cutter had actually left Arnys around the time it became part of Arnys, and is now retired, while their longtime custom shirtmaker died recently. 

Things change. Like Trétiack, I’ve wondered about the futility of writing about places like Arnys, about what it matters to remember. Then I remember that so many of us, so many different individuals with so many different individual histories, have conferred on this place, on this meaningless pair of syllables, so many different meanings, each with its own reverberations. How much can we know about what we remember?

[michelleplayswithfire]

US Hot 100 Bubbling Under 1980-1985

Songs worth mentioning that didn’t make it to the Hot 100:

1980: Phyllis Hyman -- You Know How To Love Me (#101 -- Feb. 2) AC/DC -- Touch Too Much (#106 -- Feb. 2) The Inmates -- The Walk (#107 -- Feb. 16) Pearl Harbor and the Explosions -- You Got It (Release It) (#108 -- Feb. 16) The Gap Band --  I Don’t Believe You Want To Get Up And Dance (Opps, Up Side Your Head) (#102 -- Mar. 29) Gary Numan & Tubeway Army -- Are ‘Friends’ Electric? (#105 -- Jun. 28) Paul McCartney -- Waterfalls (#106 -- Aug. 30) Gary Numan -- I Die: You Die (#102 -- Sep. 27) Roxy Music -- Oh Yeah (On The Radio) (#102 -- Oct. 4) David Bowie -- Ashes To Ashes (#101 -- Oct. 25) Roxy Music -- In The Midnight Hour (#106 -- Nov. 8) Jim Carroll Band -- People Who Died (#103 -- Nov. 29) Robert Palmer -- Looking For Clues (#105 -- Nov. 29) Devo -- Freedom Of Choice (#103 -- Dec. 20)

1981: XTC -- Generals And Majors (#104 -- Jan. 21) Talking Heads -- Once In A Lifetime (#103 -- Feb. 7) Any Trouble -- Second Choice (#108 -- Mar. 14) Gino Soccio -- Try It Out (#103 -- May 30) Grace Jones -- Pull Up To The Bumper (#101 -- Jun. 6) Kraftwerk -- Pocket Calculator (#102 -- Jun. 6) Split Enz -- One Step Ahead (#104 -- Jun. 27) The A’s -- A Woman’s Got The Power (#106 -- Aug. 8) The Producers -- What’s He Got? (#108 -- Aug. 22) Billy Idol -- Mony Mony (#107 -- Sep. 26)*** The Tubes -- Talk To Ya Later (#101 -- Oct. 10) Devo -- Beautiful World (#102 -- Nov. 14) Kraftwerk -- Numbers (#103 -- Dec. 12) ZZ Top -- Tube Snake Boogie (#103 -- Dec. 26)

1982: The Manhattan Transfer -- Spies In The Night (#103 -- Jan. 16) Let’s Work -- Prince (#104 -- Jan. 30) Chic -- Stage Fright (#105 -- Jan. 30) Chas Jankel -- Glad To Know You (#102 -- Feb. 20) Devo -- Through Being Cool (#107 -- Apr. 24) Tom Tom Club -- Wordy Rappinghood (#105 -- May 15) Buckner & Garcia -- Do The Donkey Kong (#103 -- May 29) Split Enz -- Six Months In A Leaky Boat (#104 -- Jun. 5) Junior -- Too Late (#102 -- Jun. 12) Imagination -- Just An Illusion (#102 -- Jul. 3) Squeeze -- Black Coffee In Bed (#103 -- Jul. 10) Tommy Tutone -- Which Man Are You (#101 -- Jul. 24) Shalamar -- I Can Make You Feel Good (#102 -- Jul. 24) Haircut One Hundred -- Favourite Shirts (Boy Meets Girl) (#101 -- Aug. 28) Soft Cell -- What! (#101 -- Sep. 18) Vanity 6 -- Nasty Girl (#101 -- Oct. 2) Bow Wow Wow -- Baby, Oh No (#103 -- Oct. 2) Zapp -- Do Wah Ditty (#103 -- Nov. 6) Devo -- Peek-A-Boo (#106 -- Nov. 6) Grace Jones -- Nipple To The Bottle (#103 -- Nov. 13) Bananarama -- He Was Really Sayin’ Somethin’ (#108 -- Nov. 13) Billy Idol -- White Wedding (#108 -- Nov. 27)*** Madonna -- Everybody (#107 -- Dec. 25)

1983: Devo -- That’s Good (#104 -- Jan. 15) Rush -- Subdivisions (#105 -- Jan. 15) André Cymone -- Kelly’s Eyes (#107 -- Feb. 5) ABBA -- One Of Us (#107 -- Feb. 12) Indeep -- Last Night A D.J. Saved My Life (#101 -- Feb. 26) George Clinton -- Atomic Dog (#101 -- Mar. 5) The Fixx -- Red Skies (#101 -- Mar. 12) Chilliwack -- Secret Information (#110 -- Mar. 12) Q-Feel -- Dancing In Heaven (Orbital Be-Bop) (#110 -- Mar. 26) Peter Godwin -- Images Of Heaven (#105 -- Apr. 2) The English Beat -- I Confess (#104 -- Apr. 9) The Cure -- Let’s Go To Bed (#109 -- Apr. 9) Dire Straits -- Twisting By The Pool (#105 -- Apr. 16) Randy Newman -- I Love L.A. (#110 -- Apr. 16) Bananarama -- Na Na Hey Hey Kiss Him Goodbye (#101 -- May 7) The English Beat -- Save It For Later (#106 -- May 21) Mary Jane Girls -- Candy Man (#101 -- Jun. 4) Roxy Music -- More Than This (#102 -- Jun. 4) Spandau Ballet -- Lifeline (#108 -- Jun. 4) The Isley Brothers -- Between The Sheets (#101 -- Jun. 18) Marshall Crenshaw -- Whenever You’re On My Mind (#103 -- Jun. 18) Robert Hazard -- Change Reaction (#106 -- Jun. 18) U2 -- Two Hearts Beat As One (#101 -- Jul. 2) Heaven 17 -- We Live So Fast (#102 -- Jul. 9) Yello -- I Love You (#103 -- Jul. 16) Juluka -- Scatterlings Of Africa (#106 -- Jul. 16) Gary Myrick -- Message Is You (#103 -- Aug. 6) “Weird Al” Yankovic -- I Love Rocky Road (#106 -- Aug. 6) Mary Jane Girls -- All Night Long (#101 -- Aug. 13) Zapp -- I Can Make You Dance (Part 1) (#102 -- Aug. 20) Ministry -- I Wanted To Tell Her (#106 -- Aug. 20) The Coconuts -- If I Only Had A Brain (#108 -- Aug. 27) Sissy Spacek -- Lonely But Only For You (#110 -- Aug. 27) The Gap Band -- Party Train (#101 -- Sep. 10) Billy Idol -- Dancing With Myself (#102 -- Sep. 10) Tom Tom Club -- The Man With The 4-Way Hips (#106 -- Sep. 17) Freeez -- I.O.U. (#104 -- Sep. 24) Miquel Brown -- So Many Men, So Little Time (#107 -- Oct. 8) Robin Gibb -- Juliet (#104 -- Oct. 22) Grandmaster Flash & Melle Mel -- White Lines (Don’t Do It) -- (#101 -- Nov. 19)

1984: New Edition -- Popcorn Love (#101 -- Jan. 21) Debbie Harry -- Rush, Rush (#104 -- Jan. 21) Was (Not Was) -- Knocked Down, Made Small (Treated Like A Rubber Ball) (#109 -- Jan. 21) The Cure -- The Lovecats (#107 -- Feb. 11) Ozzy Osbourne -- Bark At The Moon (#109 -- Feb. 11) George Kranz -- Trommeltanz (Din Daa Daa) (#110 -- Feb. 25) Endgames -- Love Cares (#105 -- Mar. 24) The Art Of Noise -- Beat Box (#101 -- Apr. 7) Alisha -- All Night Passion (#103 -- Apr. 7) Pat Wilson -- Bop Girl (#104 -- Apr. 7) The Alarm -- Sixty Eight Guns (#106 -- Apr. 14) Peter Brown -- They Only Come Out At Night (#102 -- Apr. 28) Break Machine -- Street Dance (#105 -- Apr. 28) Nena -- Just A Dream (#102 -- May 5) Russ Ballard -- Voices (#110 -- May 12) Ultravox -- Dancing With Tears In My Eyes (#108 -- Jul. 7) The Art Of Noise -- Close (To The Edit) (#102 -- Aug. 18) The Time -- Ice Cream Castles (#106 -- Aug. 18) Howard Jones -- Pearl In The Shell (#108 -- Aug. 25) Janet Jackson -- Don’t Stand Another Chance (#101 -- Sep. 8) Alfonso Ribeiro -- Dance Baby (#104 -- Sep. 8) The Staple Singers -- Slippery People (#109 -- Oct. 27) Dreamboy -- I Promise (I Do Love You) (#106 -- Nov. 17) Lindsey Buckingham -- Slow Dancing (#106 -- Nov. 24) Sade -- Hang On To Your Love (#102 -- Dec. 8)

1985: The Gap Band -- Beep-A-Freak (#103 -- Jan. 12) Vanity -- Mechanical Emotion (#107 -- Jan. 12) Whodini -- Freaks Come Out At Night (#104 -- Jan. 26) Klymaxx -- The Men All Pause (#105 -- Feb. 2) Jenny Burton -- Bad Habits (#101 -- Mar. 9) Roxanne Shanté -- Roxanne’s Revenge (#109 -- Mar. 9) General Public -- Never You Done That (#105 -- Mar. 16) Run-D.M.C. -- King Of Rock (#108 -- Mar. 23) Nik Kershaw -- The Riddle (#107 -- Apr. 13) Wang Chung -- Fire In The Twilight (#110 -- May 11) Skipworth & Turner -- Thinking About Your Love (#104 -- May 18) Run-D.M.C. -- You Talk Too Much (#107 -- Jun. 8) Cheyne -- Call Me Mr. ‘Telephone’ (Answering Service) (#106 -- Jun. 15) Bryan Ferry -- Slave To Love (#109 -- Jun. 15) Talking Heads -- Road To Nowhere (#105 -- Jun. 22) Rick James -- Glow (#106 -- Jul. 27) New Order -- The Perfect Kiss (#109 -- Jul. 27) Sheila E. -- Sister Fate (#102 -- Aug. 3) R.E.M. -- Can’t Get There From Here (#110 -- Aug. 17)

[carsthatnevermadeitetc]

Panther FF Roadster, 1974. A replica of the Ferrari 166 Spyder Corsa designed by Robert Jankel and built by Panther to a commission from the Swiss distributor Willy Felber (the FF stands for Felber Ferrari). The car was powered by a 300hp 4.0 litre Ferrari Colombo V12, 7 cars were made in total.