expo 67 lounge

Mary Richards' Bachelorette Pad

noreply@blogger.com (Jason Stockl) — Sun, 24 Feb 2013 18:41:00 +0000

During the first 5 seasons of The Mary Tyler Moore Show, main character Mary Richards lived in an attic apartment in an old Queen-Anne style Victorian house in Minneapolis, Minnesota.

While the show itself was filmed in Hollywood, the exterior shots used were of a real 3-floor, 9000-square-foot house located at 2104 Kenwood Parkway, Minneapolis. In the real house, the space occupied the behind the window that was "Mary's apartment" was actually an unfinished attic area. As on the show, the real house had been divided into apartments for a time, but renovations in recent years have returned it to a single-family dwelling. (Click here to see more on the house today.)

Mary Tyler Moore during the filming of the show's opening credits. Ms. Moore never actually entered the real house.

When fans discovered its location, the Kenwood Parkway house quickly became a popular tourist destination. According to Mary Tyler Moore herself, the woman who lived in the house at the time was "overwhelmed by the people showing up and asking if Mary was around". More than a decade after The Mary Tyler Moore Show ended, the house was still attracting up to 30 tour buses a day...

A behind-the-scenes studio shot (top), a floorplan of Mary's pad (bottom).

Mary's apartment was conceived as a large 1-room studio, with a small kitchenette and a walk-through closet area leading to the bathroom. She rented the place for $130 a month.

The set's Victorian moldings, Palladian window, and vaulted and beamed ceiling.

The architectual details on the set were in keeping with the Victorian style of the real house: elaborate moldings, a brick chimney rising through the space, an ornate Franklin stove, etc. The window on the real house was closely measured and photographed in order to reproduce it as faithfully as possible on set. The only architectual element out of place in a real attic space would have been the sunken living room.

Mary's eclectic décor mixed various thrift shop finds. I love the shag carpeting...!

Mary's character was a single, working girl. She was smart and had a good eye for decorating, but she also would have been on a tight budget.

Her furnishings were an eclectic mix of investment pieces, like her brown velvet hide-a-bed, and thrift store finds: wall-mounted jewelry racks, empty glass bottles, second-hand dishes, wicker pieces... and let's not forget the iconic "M" that graced the wall beside her front door...!

Mary Richards made sleeping on a hide-a-bed seem so exciting...!

It was the set designers' attention to detail that made Mary's apartment so special, defining the Mary Richards character nearly as much as Mary Tyler Moore's acting. As in real life, Mary's interior changed over time, reflecting the character's evolution, as well as shifting tastes and styles.

Mary's tiny kitchen (left) wood-burning stove (center), and walk-in closet (right).

When Mary Richards moved to a new, high-rise apartment at the beginning of the show's 6th season, much of her furniture followed her. The set designers reused and reupholstered Mary's furnishings, as Mary would have done in real life. Some pieces survived from very first episode of the series to the very last.

Mary's tiny kitchenette. A stained glass screen could be lowered for privacy.

Mary Richards' apartment on The Mary Tyler Moore Show is arguably one of the most famous rooms ever built in America, setting a standard that sitcom set designers try to meet to this day. In 1995, Entertainment Weekly deemed Mary's apartment "TV's most famous bachelorette pad"...

images: (1) bobcanada92.blogspot.ca
(2-6-7-8-9-10-11) hookedonhouses.net
(3-4) thewalkupblog.com

Eaton's Preview of Expo 67

noreply@blogger.com (Jason Stockl) — Sat, 22 Dec 2012 20:18:00 +0000

Founded in 1869 by Timothy Eaton, the 'T. Eaton Co. Limited' was once Canada's largest department store. The first Eaton's catalogue appeared in 1884 — 34 pages with no pictures, and nothing more than the item’s name and price.

Canada's population was mostly rural at the time, so catalogue and mail order retailing was ideal: it offered isolated settlements a selection of products that were otherwise unattainable. Needless to say, the arrival of the latest Eaton's catalogue in these communities was a major event...!

As Eaton's grew, so did the catalogue, and it would become a Canadian cultural icon found in almost every household in its heyday.

For their fall and winter 1966 edition, Eaton's presented an "exciting preview" of Expo 67. On backgrounds of artists' conceptions, an array of coats, clothing, luggage and cameras were shown, with the suggestion: "Plan to visit Expo 67".

Oddly, I don't know why Eaton's didn't wait for the spring 1967 catalogue for their preview. Most of the clothing shown would have been way too hot for a typical summertime Expo jaunt... (Rabbit fur, anyone?)

Nevertheless, the layout is pure 60's fashion and Expo 67 eye candy. And, judging by the images below, we see that "Jade green" and "Camel" were hot colors for fall 1966...!

"Far left: Two-piece walking suit in soft wool diagonal. Long demi-fitted jacket has a detachable fur collar of bleached and tipped racoon. Flap pockets with one fake pocket on right side. Rayon satin lining and interlining. Slim skirt with back leat is fully rayon lined. Jade green only. Misses sizes 8, 10, 12, 14, 16.

Near left: Sleek two piece dress in wool double-knit to stand out in any crowd. Straight and simple — with a rolled bias collar ending in flip ties. Top has long back zipper; skirt has side zipper. Jade Green or Winterberry Red. Misses' 10 to 18."

Expo 67 preview: (top) "Altlantic provinces ship building exhibit"
(bottom) "Quebec's glass pavilion built over water"

"Far right: Sophisticated demi-fitted coat of wool diagonal has horizontal welt stitching and wrist length set-in sleeves. Ornamental fabric trim conceals two-button closing. Slash pockets. Rayon satin lining, interlining and chamois. Jade green only. Misses 8 to 16.

Near right: Fashion-bound two-piece suit in printed wool double-knit. Demi-fitted jacket with pointed collar and five button closing has set-in sleeves. Body of jacket and slim skirt are Rayon lined. Jade green print only. Misses' 10 to 18.

Fur felt velours fedora, grosgrain ribbon trim. Up to 22½-in. headsize. Jade green."

Expo 67 preview: (top) "Western Canada's symbolic exhibit"
(bottom) "The Ontario pavilion at Expo 67"

"Kodak Brownie Fiesta outfit

1. The family fun camera. All you need to start taking good pictures — in one low-priced outfit. Take black-and-white or colour prints, or colour slides with economical 127 film. Two batteries; one 4-shot Flashcube; one roll 12-shot black-and-white film. With gadget bag.

Anscomatic Super 8 zoom camera

2. Trouble free cartridge loading... shoot 50 feet without reloading. Fast f/1.7 zoom lens takes you right in where the action is. Electric motor drive. Built-in CdS electric eye exposure meter. Reflex through-the-lens viewing; with one Kodak Super 8 colour film cartridge. With pistol grip."

Expo 67 preview: (top) "Community and Health pavilion"
(bottom) "Air Canada's cantilevered pavilion"

"Youthful chic in a fun fur

Dyed rabbit in a striking imitation of lynx. Double-breasted with sparkling buttons. Rayon satin lining, underlining, inside pocket, ties. Optional simulated leather belt. Beige with white. Misses' sizes 10, 12, 14, 16.

Streamlined fashion classic

Coat of wool and camel hair. Saddle stitching trims the tailored lapels, envelope pockets, front closing, the shoulder seams and the optional tie belt. Rayon satin lining, interlining, chamois. Camel only. Misses' sizes 10, 12, 14, 16, 18."

Expo 67 preview: (top) "Main entrance gate to Exhibition"
(bottom) "A permanent display — the Montreal Aquarium"

"Pick your Skyway luggage here and be on your wonderful way!

1 to 5. True-to-life buffalo hide? No. Koroseal vinyl, so forget all about stains and scratches. No more fussing with keys either. Just set and remember combination locks. (Use your lucky number.) Lift-O-Matic hinges; secure tongue and groove closures; inside, cushy, quilted linings; removable pockets. Busy bag re-lined in plastic; petite case fitted with mirror, brush, comb, toothbrush. Ready to go? Try and stop you! Topaz Gold; Dresden Blue; Cardinal Red."

Expo 67 preview: (top) "Government of Canada exhibit"
(bottom) "Classically designed Swiss pavilion"

"Detachable collar tops suede

Exciting newcomer to the fall and winter fashion scene! An elegant coat of soft suede leather (sheepskin), with a detachable shawl collar of striking, natural lynx. Styled with three-button closing, three-way belt, horizontal flap pockets, set-in sleeves. Rayon satin lining, interlining. Comes in sable (medium brown) only. Misses' sizes 10, 12, 14, 16, 18."

Expo 67 preview: "Fountain and sculpture designed by Gerald Gladstone"

"1. The dress. Fully rayon lined. Detachable checked hip belt, long back zipper. Beige mix or Red. Misses' sizes 10, 12, 14, 16.
2. The Skirt. Pleated tattersail skirt, side zipper. Colour as shown. Misses' sizes 10, 12, 14, 16."

Expo 67 preview: "The British pavilion designed by Sir Basil Spence"

"Thank you for buying from EATON'S" — The order envelope that came with the catalogue featured the Expo 67 symbol.  

images: personal collection

'St-Hubert Plaza' Ad, 1969

noreply@blogger.com (Jason Stockl) — Sun, 18 Nov 2012 15:08:00 +0000

Loving this vintage Plaza St-Hubert ad from 1969...

"So easy to get to... from uptown or downtown!"

The Brewers of Canada Pavilion

noreply@blogger.com (Jason Stockl) — Sun, 30 Sep 2012 17:31:00 +0000

Comprising of more than 50 members, The Brewers Association of Canada presented an elegant pavilion at Expo 67, located on Île-Sainte-Hélène between the pavilions of China and Vermont.

Constructed of concrete, wood and glass, the complex was made up of 3 circular buildings, recalling the curves of a beer barrel. In them were housed the 3 main sections of the pavilion: the 'La Brasserie' restaurant and terraced beer garden in the first, a historical exhibit and miniature theater in the second, kitchen and service installations in the third.

Beer was the drink of choice in the air-conditioned, 400-seat restaurant, and there were 67 kinds to choose from. The menu featured an imaginative cross-Canada selection of dishes based on recipes using beer instead of wine: Saskatchewan beef (boeuf bourguignon, but made with beer), Quebec tourtière with an aromatic touch of beer, Yukon salmon trout in beer sauce, beer-infused Manitoba pork chops, Acadian ham, Alberta steaks, etc...

In the historical section, beer drinkers from prehistoric times to modern day were discussed, including ancient beer-drinking cultures such as Greeks and Romans, Gauls and Teutons. Visitors were explained the art of beer-brewing: how barley could be blended with wheat, how ale could be flavored with ginger or hops, etc. The exhibits all sought to show the good life in Canada, relating the story of Canadian beer to that of Expo 67's overall theme 'Man and his World'.

For children, a circular, 200-seat puppet theatre featured daily performances by the world-famous Canadian Puppet Theatre. Some 50 puppets presented a story called 'Fun Fantasy', a humorous tour of Canada. The 15-minute bilingual show was performed continuously from 10am to 9:30pm.

Every visitor to the pavilion was offered a free souvenir book in English or French, featuring unusual entertainment ideas and food recipes using beer.

Am I the only one to find the inclusion of children's activities in a pavilion that was essentially a large Brasserie a bit... awkward?

The official Expo 67 guide book promised that a visit to the Brewers pavilion would provide "relaxation and enjoyment for the whole family". This evidently meant keeping children occupied while parents were at the bar.

'The Children's Theatre', 1968

It gets even better in 1968.

The following year for Man and His World, the pavilion was altogether re-baptized 'The Children's Theatre'. Upon reading the mindful description (above), one would hardly know that the pavilion's original vocation was that of a beer garden...!

According to the guide, children could "cultivate [their] personality and self confidence" through live theatre. All while Mummy and Daddy cultivated theirs through, *ahem*, the wonders of beer...!

images: (1) expo67.ncf.ca
(2) personal collection (The Expo 67 Memorial Album)
(3 and 4) personal collection (Man and His World 1968 guide)

"Montreal Women Are Wonderful"

noreply@blogger.com (Jason Stockl) — Sat, 11 Aug 2012 18:45:00 +0000

"Easter parade is every day along St. Catherine street, with its steady stream of mad hats and multi-hued hair to bewitch — or bewilder — male eyes."

A November, 1961 article appearing in Weekend Magazine; the first in a series that featured artists' impressions of Canadian women... Enjoy:

Montreal Women Are Wonderful
Paintings by Bruce Johnson

"You can see girls any place but in Montreal you see women." That was artist Bruce Johnson's reaction when he first arrived. Two years in the city have not dampened his enthusiasm. His face still lights up at the very Mention of the subject.

He should know. He is a keen practicioner of that old male custom of standing on the corner — purely in the interests of art — and watching all the girls go by. These paintings are the result of many long, happy hours doing just that.

"The first thing I noticed", he says, "was the individuality of the Montreal woman." It is not just her clothes, he decided, although her appearance leaves no doubt about her fashion consciousness. She follows fashion but is not ruled by it. Her costume may be years old but it fits beautifully as well as flattering her figure.

It is the French influence that is mainly responsible for setting the Montreal woman apart. Johnson agrees, "but the effects seem to rub off on many English-speaking women as well."

There is something different about the way a Montreal woman looks at a man: "She is not coquettish — just more aware." And it is much more rewarding to smile at her, because more often than not you get a smile in return, instead of a cold stare. "Much more enticing," he says.

Being a young man, Johnson devotes most of his attention to the younger woman. But older examples of Montreal womanhood do not escape his eye. His view of them appears here as well — in the first of a WEEKEND series of artists' impressions of Canadian women.

"Leisurely lunch is irresistible when your waitress in a tiny French café treats you as though you were her only customer."

"Fresh faces almost hidden by hoods, nuns take a quiet stroll in the shadow of Mount Royal."

"The real warmth of the French-Canadian woman — her understanding and compassion — shows in the plum rosy faces you see in old Bonsecours Market."

"Sweeping majectically across Sherbrooke street, her chauffeur-led poodle in her wake, is one of the formidable figures who form the backbone of Montreal's English society."

"Coffee bars along Stanley street are second homes to the Beatnick crop. Their pale-lipped, dusky-eyed faces world-weary in the smoky gloom, they huddle for hours over endless cups of bitter espresso."

image source: flickr.com

The Story Behind the Expo 67 Theme Song

noreply@blogger.com (Jason Stockl) — Sat, 04 Aug 2012 21:24:00 +0000

In my years as an Expo 67 aficionado, I've always wondered why there were 2 different "official" Expo theme songs: one by Donald Lautrec and one by (my beloved) Michèle Richard.

Written by Stéphane Venne in the months leading up to Expo, "Un jour, un jour" ("Hey Friend, Say Friend" in English) was in fact the winning submission in a contest organized by the Expo 67 Corporation and Ms. Jacqueline Vézina, then-head of the "Festival du Disque", ancestor of the current "Gala de L'ADISQ".

During an Expo-related event last winter, Stéphane Venne himself discussed the competition, as well as the Donald Lautrec/Michèle Richard duality.

"I was 25 years old at the time," remembered Venne, "I had been writing songs for 10 years. I learned to write much like a young hockey player learns to play: by practice. So by 1966, I knew what I was doing. But I was still relatively anonymous."

That year, he received a letter with a participation form for the Expo 67 theme song contest from his songwriter's guild. Venne said he'd never forget the day he got his idea:

"At one point in 1966, the 'La Presse' newspaper published an artist's conception of Expo 67 on its front page. It was a prettied-up image, à la Walt Disney, meant to give readers an impression of what the Expo site would be like. [...] The image was huge: from one edge of the page to another". This was where inspiration struck: "The islands, the water, the colors, at once in the city and just outside the city. The shapes, the dream, the future"...

Stéphane Venne submitted his song during the last hour of the last day of the contest deadline, slipping it under the door at 5 minutes to 5pm. This was before the advent of cassette tapes, so the songs were submitted as musical partitions: musical notes and lyrics on paper. Jacqueline Vézina had hired professional singers with accompanying pianists to perform the submissions before judges. One of these pianists was Paul Baillargeon, a fellow who worked with lyricist Pierre Letourneau, a good friend of Stéphane's.

When "Un jour, un jour" won out over the other 2,200 submissions, Letourneau knew immediately through Baillargeon and called Stéphane to tell him. It was still a secret as the official announcement had not been made. "A few days before the official announcement, I knew," Venne admitted.

Donald Lautrec vs. Michèle Richard

A grand gala was organized by Radio-Canada to announce the winning theme song. Venne recalled the details:

"The director of this show, Maurice Dubois, had the habit of hiring Michèle Richard for all sorts of occasions and all sorts of reasons. I was not happy about this. I had a friend, [singer] Donald Lautrec, whose manager, Yvan Dufresne, I knew well. I called Dufresne a few days before the gala to confide in him: 'Yvan, I won the Expo song, the show is Sunday and you find that it would be fun if...' He understood immediately. The problem was: 'What do we do?' And the answer was: 'We work quickly, through the night, hiring musicians without telling them why, recording and manufacturing the records at full speed, so that they are in stores Monday morning after the Radio-Canada show...'"

This is how Donald Lautrec came to record the song, even though the Expo Corporation and Radio-Canada had chosen Michèle Richard...

On a side note, Montreal Mayor Jean Drapeau was reportedly unhappy that Stéphane Venne's original lyrics made no mention of "Montreal" or "Expo 67". One of the major differences in Michèle Richard's recording versus Donald Lautrec's was the inclusion of an intro and outro where she sang: "Expo, Expo, à Montréal... Expo, Expo de '67... Expoooooo à Montréaaaaal!"

No need to ask which one I like best. And you, Expo Lounge visitor? Which version do you prefer...?

images: expo67.ncf.ca

The Stéphane Venne quotes were culled from a written French transcript sent to me by Yves Jasmin, translated and edited for clarity by yours truly.

Retro Recipe: Coconut Queen Party Cake

noreply@blogger.com (Jason Stockl) — Sat, 21 Jul 2012 18:42:00 +0000

From the cookbook "Here Are The Cakes America Loves", 1950:

Coconut Queen Party Cake with Marshmallow Frosting

Cake:

• 2¾ cups cake flour, sifted

• 4 teaspoons baking powder

• ½ teaspoon salt

• ¾ cup shortening

• 1½ cups sugar

• 4 egg whites

• 1½ teaspoons vanilla extract

• 1 cup milk

Sift together dry ingredients and set aside. Cream shortening thoroughly. Gradually add the sugar, mixing continuously. Add egg whites, one at a time, beating well after each addition. Add sifted dry ingredients alternately with the milk, beating until smooth after each addition.

Pour into 2 well-greased 9-inch cake pans. Bake at 350°F for about 35 minutes. Cool layers slightly and remove from pans. Cool completely.

Frosting:

• 2 egg whites

• 1½ cups sugar

• 6 tablespoons water

• 6 large marshmallows, quartered

• 1 teaspoon vanilla extract

• ¼ teaspoon baking powder

In the top of a double boiler, combine first 4 ingredients. Cook over rapidly boiling water, beating with a rotary egg beater about 10 minutes, or until mixture stands in peaks. Remove top of double boiler from heat.

Add the vanilla extract and baking powder and beat about 5 minutes, or until frosting is thick and of good spreading consistency.

Sprinkle 1 cup of grated coconut over top and sides. If desired, tint coconut by placing it with 2 drops of liquid food coloring in a covered pint jar. Shake until coconut is evenly tinted.

source: adapted from midcenturymenu.com.

"Habillé pour la modernité"

noreply@blogger.com (Jason Stockl) — Sun, 24 Jun 2012 16:05:00 +0000

Founded in 1921, the McCord Museum is a public research and teaching museum here in Montreal, dedicated to the preservation and appreciation of Canadian history.

The museum is known for its extensive historical costume and textile collection, which includes over 18,000 clothing and accessory pieces, many of which were created by some of Montreal's most legendary fashion designers. Among the plethora of antique dresses, parasols, hats, fans and footwear, the museum also counts a collection of Expo 67 hostess uniforms.

The Montréal Fashion Bureau ("Mode Montréal") sat down with Cynthia Cooper, head of collections and research, and curator of costume and textiles for the McCord Museum. Herself dressed hostess-esque, Ms. Cooper gives us a look into our beloved Expo girls, "dressed for modernity"...

Check out the video, above...!

Michel Robichaud mixed modernity and folklore for the Indians of Canada costume.

The British uniform included a fabulous union jack purse. (McCord Collection)

The brown and aqua Quebec ensemble, with space-aged hat. (McCord Collection)

A U.S. raincoat like the one I acquired. (I think mine is displayed better...)

images: (1-3-5) screen captures, montages by author

(2-4) mccord-museum.qc.ca, montages by author

Mike Wallace

noreply@blogger.com (Jason Stockl) — Sat, 05 May 2012 01:08:00 +0000

"I'm Mike Wallace, and this is 60 Minutes..."

Mike Wallace was born Myron Leon Wallace on May 9, 1918, in Brookline Massachussets.

Wallace began his acting and announcing career in 1939, after studying broadcasting at the University of Michigan. Throughout the 1940's, he performed in various different radio show genres – quiz shows, talk shows, commercials, serials, and news reading. It was in 1951, at age 33, that Mike Wallace moved to New York City and began what would become a 6-decade television career.

Mike Wallace and Buff Cobb on the set of "Mike & Buff", 1951.

Mike Wallace's first foray into interviewing was during the husband-and-wife talk show "Mike and Buff", which aired weekday afternoons on CBS. Co-hosted with then-wife Buff Cobb, Wallace conducted live interviews with celebrities and passers-by in various New York locations. The talk show (and their marriage) ended in 1954.

Other early television work included announcing and game show hosting for programs such as "What's in a Word?", as well as acting in shows such as the "Stand by for Crime" police drama and the "Studio One" anthology series. In 1954, Wallace even had a brief stint on Broadway, acting in the play "Reclining Figure", directed by Abe Burrows.

During this time, Mike Wallace also did television commercials for a variety of products, including Procter & Gamble's "Golden Fluffo" brand shortening, and Philip Morris cigarettes...

Promotional shots for "The Mike Wallace Interview", 1957.

In 1956, the vehicle that brought Mike Wallace's unique interviewing style to prominence was created. "Night Beat" was a live, late night hour talk show where Wallace grilled celebrity guests on controversial topics, developing a hard edge that was lacking in television at the time. Armed with solid research and provocative questions, Wallace made guests squirm. Using only a black backdrop and harsh lighting (with cigarette smoke for atmosphere), the interviews were framed in tight close-ups, revealing the sweat elicited by Wallace's grilling.

Only airing locally, "Night Beat" later developed into the nationally televised prime-time program "The Mike Wallace Interview" which ran until 1960.

60 Minutes

"Tick, tick, tick, tick, tick..."

"The Mike Wallace Interview" may have made him a star, but "60 Minutes" is what made Mike Wallace a legend.

On September 24, 1968, "60 Minutes" debuted on CBS. Initially, the show was aired bi-weekly on Tuesday evenings at 10pm, with Mike Wallace and Harry Reasoner as the show's only 2 hosts. The contrast was intentional: Wallace as the abrasive, crusading detective-type opposite Reasoner's mild-mannered, analytical persona.

"60 Minutes" quickly became known for its in-depth investigations and hard-hitting exposés, thanks in part to Mike Wallace's tough journalistic style. As the show progressed, he perfected his trademark "ambush" interview technique: after secretly filming scam artists and wrong-doers in action, Wallace confronted them without warning in parking lots, hallways, wherever a comment (or a stricken expression) might be harvested.

Mike Wallace's ability to uncover corruption, greed and deceit generally garnered him praise – and numerous awards – but some critics deemed his methods unfair, underhanded and too sensational.

Ambushes aside, Mike Wallace was also known for his high-profile interviews, sitting down with some of the most iconic figures of the 20th century. A brilliant interviewer, Wallace always did his homework, delivering his questions with a smooth combination of toughness and grace...

Mike Wallace and Harry Reasoner in 1968.

Growing up, Sunday nights were marked in our house by "60 Minutes". The handsome, baritone-voiced Mike Wallace was always my favorite, especially when he nabbed the "bad guys" in those iconic ambush interviews...!

Even though the subject matter was often too 'adult' for me to follow (and I never understood Andy Rooney), the tick-ticking of the "60 Minutes" stopwatch has always been, to me, as comforting as a glass of warm milk...

Below is an excerpt of the first ever "60 Minutes" from 1968, where Harry Reasoner introduces it as a "kind of a magazine for television"...

images: (1) cbsnews.com
(2) mtv.com
(3) wikipedia
(4) entertainment.time.com
(5) unknown source

The "Carrefour International"

noreply@blogger.com (Jason Stockl) — Fri, 13 Apr 2012 18:53:00 +0000

Most national pavilions at Expo 67 had integrated gift shops and restaurants to satisfy the visitor's desire for folkloric souvenirs and exotic foods.

For those that didn't want to face the hours of queuing required to enter said pavilions, another area at Expo offered a one-stop international shopping and dining experience: the "Carrefour International".

Located at the northern tip of the La Ronde amusement area, the Carrefour International was a vast plaza of shops and restaurants, operated by many of the same countries as those found in the rest of Expo 67.

The complex was a series of triangular units with walls of plywood skin and pyramidal roofs; the visual emphasis was on pictorial graphics and lighting. Courtyards, fountains and trees dotted the entire area.

The Carrefour was comprised of 40 small shops and boutiques, some 400 square feet each. Sit-down restaurants included a Bavarian Beer Garden (seating 750), an English pub (seating 175), a Swiss fondue restaurant (seating 170), a Czechoslovakian restaurant (seating 150), a Dutch restaurant (seating 100), and a Hawaiian theatre-restaurant with Polynesian food and entertainment.

8 snack bars and 7 food shops specializing in foreign items completed the Carrefour's gastronomic offerings.

One of the prominent features of the International Carrefour was an elaborately decorated antique carrousel, already over 100 years old by 1967. Built in Belgium, it had been completely restored to its original splendor, though the original steam power had been replaced by electricity. Visual and sound effects ensured that the old time charm of steam operation was preserved.

From Expo Inside Out, a shopper's guide to Carrefour International:

"The easiest and best place to shop is in Carrefour International on Ile Ronde - amidst the restaurants, merry go round, post-office and bank. The best boutiques are:

Morocco ★★★★★
– excellent leather: hassocks, shoes, purses, wallets – rugs – brass.
Iranian Handicrafts ★★★★★
– carpets – fur hats – mitts – jewelry – linens. All at very reasonable prices.
Tunisia ★★★
– Leather shoes – perfume – silver jewelry.
Cuba ★★★
– Cigars – humidors – straw bags.
Africa ★★★
– Skins - beads – wood carvings.
Yugoslavia ★★★
– Suede Coats – shoes – linens.
The following boutiques have a few interesting items: Germany ★★ has knives, dolls, and stuffed animals but most of these items can be bought in department stores in Montreal, anytime. U.S.S.R. ★★ has wooden toys and dishes and amber. The Swiss Fondue Pot ★★: after enjoying Swiss Fondue in the restaurant, you can buy fondue pots and cheese to take home. Swiss candy is also on sale. And Thailand ★★ has a selection of jewelry and silver."

The video below shows footage of this "Swiss Fondue Pot" restaurant located in the Carrefour. Legend has it that the popularity of cheese fondue in 60's Quebec is directly related to its presence at Expo. The video's narrator even states that chocolate fondue was a dessert specially created for Expo 67...!

images: (1) Dixon Slide Collection
(2 and 4) expo67.ncf.ca
(3) personal collection, from the Man and His World 1968 guide
With special thanks to DC Hillier for his retouching skills on photo 1.

Klaus Bürgle

noreply@blogger.com (Jason Stockl) — Sun, 18 Mar 2012 20:06:00 +0000

100-storey residential towers, jet powered commuter trains, 1968.

The graphic artist Klaus Bürgle was born in Stuttgart, Germany in 1926.

Bürgle studied at the the Stuttgart State Academy of Art and Design from 1948 to 1951. After a 1-year stint working at a graphic design firm, he decided to go freelance. It was in 1953 that he began illustrating for science and technology magazines such as Das Neue Universum ("The New Universe").

Throughout the 1950's and 60's, Klauss Bürgle created countless covers and interior illustrations for a wide variety of popular science books and magazines, as well as working on scientific-themed television shows. While space exploration was certainly his favorite subject, many of his works show futuristic cities and transport.

Much like Star Trek or Expo 67 itself, I've always loved how the "future" was depicted in the past...!

"Air station" connected to rail system with parking for thousands of cars, 1955.

Interchange with seperate levels for cars and public transit, 1965.

Multi-storey expressway with overhead monorails, 1959. (I love the cars...!)

A fully automated rapid transit system carrying both people and cars, 1969.

Remote-controlled high-speed tube trains, above and below ground, 1967.

Polar-region air terminal, 1953.

images: retro-futurismus.de

Betsy McCall at Expo 67

noreply@blogger.com (Jason Stockl) — Sun, 04 Mar 2012 14:30:00 +0000

In 1951, McCall's women's magazine introduced a paper doll called Betsy McCall; a spunky little girl with a pug nose, brown eyes and a brown bob.

An instant hit, the editors of McCall's had rightly guessed that mothers would be even more inclined to buy their magazine if it contained a nice little extra for their daughters. Each month, little girls across America begged their mothers for the very latest Betsy. Additionally, for a small fee (25¢ in 1967) paper dolls printed on cardboard could be ordered by mail.

Appearing in most issues of the magazine from 1951 to 1995, each Betsy McCall installment came with a set of paper dolls and clothing, as well as a fun little story meant to inspire children as they played. Sometimes Betsy would be helping Mom around the house, working in the yard, or celebrating a holiday.

In August of 1967, Betsy and her family visited Expo 67. She wrote to her cousin Linda of her Expo adventures:

"All five of us have been touring the fair - the twins in a pushcart like zillions of other babies," wrote Betsy. "It's hard for me to describe the buildings very well because they are like nothing you've ever seen, so I'm sending snapshots Daddy took."

"We rode on the monorail, which is a railroad in the air; it slips through the United States pavilion and comes out the other side - Daddy says it's like a squiggly worm going through an ENOURMOUS apple..."

original image source: thebleudoor.com

Montreal's "Men in Yellow"

noreply@blogger.com (Jason Stockl) — Sat, 25 Feb 2012 16:59:00 +0000

To the millions of visitors anticipated at Expo 67, the city of Montreal wanted to show itself as modern, dazzling and cosmopolitan. And a modern and dazzling city could not be dirty. Enter the "Men in Yellow".

Dressed in yellow suits, Montreal's litter-pickers assured that city streets were clear of paper, litter and other light refuse from the months of March to December. Armed with a pincer-stick, broom and shovel, the eagle-eyed men scoured the city's streets mounted on special carrier-tricycles.

The tricycles were acquired in 1962, and by 1964, Montreal's Roads Department counted 80 of them divided amongst 5 sectors: north, south, east, west and center. Scooter-mounted supervisors linked by radio to the complaints department ensured that any urgency was quickly dealt with...

images (1) centredepaix.org

(2-3) personal collection (Montreal '64 magazine)

PLB's "Katimavik" T-Shirt

noreply@blogger.com (Jason Stockl) — Fri, 17 Feb 2012 15:37:00 +0000

PLB has done it, again!

For spring 2012, Pier-Luk Bouthillier proposes a design that pays homage to one of my personal favorite symbols of Expo 67: the "Katimavik".

The Katimavik was the dominant element of the vast Canadian pavilion at Expo 67. At 109 feet high, visitors could climb to the top of the structure for breathtaking views of the Expo site.

The word "katimavik" means "meeting place" in Inuktitut, symbolizing Canada's role as host at Expo 67.

Interesting to note, "katimavik" can also mean "to take care of". This adds a deeper meaning to the design: "taking care of" our planet is one of PLB's core values...

Available in men's or ladies', in asphalt or black.

photos: Patrick Cardinal
design: PLB

The Morocco Pavilion

noreply@blogger.com (Jason Stockl) — Fri, 10 Feb 2012 13:15:00 +0000

Located on Île-Notre-Dame between the pavilions of Tunisia and Ethiopia, Morocco's participation at Expo 67 was a traditionally-styled pavilion 72 feet in diameter and 14 feet high. Its shape was inspired by a typically Moroccan motif - the 8 point star - with wood and plaster sculptures throughout, and a floor covered in Moroccan mosaics.

Adjoining the main pavilion was a 65-foot minaret, embellished with ornamental arches.

Pillbox hatted hostess (left) ornamental arch (right).

Hostesses dressed in sunny yellow uniforms were on hand to guide visitors through a variety of exhibits that told Morocco's story in 2 parts: its contributions to civilisation prior to its 1956 independance, and its achievements after.

A large cupola in the center of the pavilion featured 2 luminous dioramas, complete with life-sized mannequins in traditional costume. One display showed the southern village of Tinerhir while the other featured the imperial city of Meknès, known as "The Versailles of Morocco". In another nearby exhibit, mannequins costumed as royal guards or as teachers represented the city of Fez, whose university was at least 400 years older than the Sorbonne.

In galleries around the central area, photographs, statues and more costumes reflected a past enriched by Morocco's proximity to other Mediterranean civilizations. Morocco's agricultural contributions to the world were highlighted: the cultivation of rice, buckwheat, sugarcane, ginger, cotton and silk, and fruits such as bananas, cherries, oranges, lemons and grapefruit.

Treasured relics were exhibited in adjacent display cases: a Neolithic vase, a Phoenician sphinx, a Punic lamp, a 14th-century frieze, a Berber bust from the Roman era. Other artifacts included ancient coins and jewels, daggers, ceramics, caskets, embroidery from North Morocco, forged iron from the city of Meknès, etc.

A 12th century Koran was on display in a section devoted to ancient manuscripts, where early Islamic advances in medicine, geometry and astronomy were discussed. A 14th century astrolabe, at once a scientific tool and a work of art, was a typical example of the refinement of the era.

The section on modern Morocco showed recent progresses in the country: industrialization, increased school attendance, improved public hygiene and improvements in agriculture. Modern buildings harmonized with traditional architecture in an exhibit on Casablanca. Montages, models and photographs presented the new city of Agadir which had been devastated by an appalling earthquake some years before.

In yet another section, photographs showed Morocco's natural beauty: spectacular mountains and valleys, deserts, coasts and beaches...

The El Mansour restaurant served dishes which captured the lush and refined essence of Morocco's culture. Visitors could sample typical dishes such as mechoui or chicken served with prunes, in a relaxed and voluptuous atmosphere of soft divans and the scent of sandalwood and rose-water...

images: (1) personal collection
(2) library and archives Canada
(3) courtesy DC Hillier
(4) alamedainfo.net
(5) personal collection, from the Man and His World 1968 guide
(6) Dixon Slide Collection, with special thanks to DC Hillier for retouching
(7) personal collection, from the Memorial Album

GM's "New Look" Bus

noreply@blogger.com (Jason Stockl) — Fri, 03 Feb 2012 17:18:00 +0000

In 1959, General Motors introduced its iconic "New Look" transit bus.

With its slanted windows, fluted aluminum siding and distinctive 6-piece rounded windshield, the design quickly became known as the "Fishbowl".

The original production began in late 1959 in Pontiac, Michigan, and the very first New Looks were delivered to the Washington, D.C. transit system that same year. In 1961, a second production line was started in London, Ontario, with their first buses going to the Hull City Transport in Hull, Quebec. US production ended in 1977 but continued in Canada until 1986. More than 44,000 units were built throughout this time.

The buses were produced in several lengths: 29, 35 and 40 feet. Transmission choices were four-speed manual or automatic. Originally, all New Looks were powered by 6-cylinder diesel engines. General Motors resisted V8 power but eventually gave in to pressure from customers.

New Looks were available in both "Transit" and "Suburban" versions. Transits were traditional city buses with two doors; Suburbans had high-backed, forward-facing seats, underfloor luggage bays, and only one door. GM had refused to install lavatories on its buses, so some transit companies added their own...!

The New Look's reliability, ease of maintenance and relatively economical operation made it the mainstay of North American transit systems from the 1960's through to the 80's.

Bus drivers loved them because of the ease of steering and the visibility through the large windows. Bus enthusiasts call it their favorite.

I've always loved the New Look's design: there's something about the windswept windows, the fishbowl windshield, the angles that keep it from looking too "boxy"... It's what I picture in my mind when I think of a "bus".

images: stevemunro.ca, scanned from a 1963 brochure.

"Design For A Fair"

noreply@blogger.com (Jason Stockl) — Sun, 08 Jan 2012 15:10:00 +0000

Much has been said over the years of Buckminster Fuller's iconic design for the exterior of the U.S. pavilion at Expo 67. Perhaps lesser known (but equally as important) were the designers of the pavilion's interior: the American architecture firm Cambridge Seven Associates.

Led by Peter Chermayeff, Terry Rankine and Ivan Chermayeff, the Cambridge Seven Associates were responsible for the overall concept, interior architecture, and exhibits of the United States' pavilion at Expo 67.

The pavilion's interior was a composition of towers and open exhibit platforms, connected by escalators and stairs, all never touching the 250-foot sphere.

A celebration of the creative spirit of Americans, the exhibition contained a wide range of objects and artifacts: from NASA's space exploration technology to the movies of Hollywood, pop-art painting and sculpture, as well as a wide range of inventions, musical instruments, and folk art.

Interesting to note, it was the Cambridge Seven Associates team that required Expo authorities to route the Minirail through the sphere at the equator, adding another unique experience to the space.

Together with Buckminster Fuller's dramatic transparent dome, the overall effect created was an extraordinary experience, allowing different views inwards and outwards, day or night.

Narrated by Cambridge Seven's Peter Chermayeff, "Design for a Fair: The United States Pavilion at Expo '67 Montreal" (top) offers an inside look at the planning of the interior exhibit of the U.S. pavilion.

Check it out, above!

images: (1) expo67.ncf.ca, montage by author
(2) personal collection
(3 & 4) flickr.com
(5) screen capture

Happy Holidays!

noreply@blogger.com (Jason Stockl) — Sat, 24 Dec 2011 15:48:00 +0000

Happy Holidays from the Expo Lounge!

A Very Michèle Richard Christmas

noreply@blogger.com (Jason Stockl) — Mon, 05 Dec 2011 00:21:00 +0000

My retro-licious Expo 67 Christmas tree has a new twist this year: I've added custom-designed Michèle Richard ornaments... ♫ Oui, les amis ♫...!

images: author's own

Retro Recipe: Petticoat Stiffener

noreply@blogger.com (Jason Stockl) — Sat, 26 Nov 2011 17:01:00 +0000

After the rationing and shortages of World War II, women were longing for frivolity.

Enter fashion designer Christian Dior in 1947. His debut collection was called "Corolle"... literally, the botanical term for a circlet of flower petals. "I have designed flower women," said Dior of his new silhouette that emphasized wasp waists and flared, petticoated skirts. Harper's Bazaar dubbed it the "New Look", and Dior's name in fashion history was made.

Dior's New Look dominated the fashion world for about 10 years, progressing from a gentle swish in the early 50's to a round ball like bouffant effect by the 1960's (think, Mad Men). Tiered, ruffled petticoats were extremely popular, especially with teenage girls, often worn 2 or 3 at a time. Each petticoat was stiffened in some way either by conventional starch or a strong sugar solution.

From Grandma's Vintage Recipes, a DIY concoction to add pouf to your petticoat and crunch to your crinoline:

3/4 cup cornstarch
2 tablespoons turpentine
2 tablespoons borax
1 quart cold water

Stir up.
Dip in & iron dry.

images: (top) etsy.com
(bottom) fashion.lilithezine.com

The Expo 67 Memorial Album

noreply@blogger.com (Jason Stockl) — Sun, 20 Nov 2011 14:21:00 +0000

Of all the Expo 67 books ever published, this one was the Grand Poo-bah.

Released in 1968 by Thomas Nelson and Sons (Canada) Limited, the Expo 67 Memorial Album was the definitive descriptive and pictorial record of Montreal's world's fair.

Designed by Gérard Caron and edited by Jean-Louis de Lorimier, this large, boxed coffee-table book featured a stunning mixture of color and black & white and photography, all interspersed by lengthy articles and observations on Expo 67.

The 368-page document was divided into 10 sections, including an eloquent preface written by Expo's Commissioner General, Pierre Dupuy, and an extensive index for easy reference. All texts and titles were in Expo's ubiquitous Optima font and presented in both French and English.

Pigeons taking up residence at Place des Nations.

An introductory chapter by James Gladstone called "Magic Island" offered a unique and intimate portrait of Expo. In this picturesque example, the author describes the quiet morning hours before Expo's opening:

"An Expo-Express train rumbles into the elevated station and three maintenance workers step aboard, their night's work done. The sound of the train disappears across Concordia Bridge. A pigeon flutters down from the huge concrete Expo symbol at the end of the square and flops heavily onto the deserted podium, the sound clear above the hushed rush of the river."

Expo's Deputy Commissioner General Robert F. Shaw penned the chapter "How Expo Was Built". Shaw credited the Critical Path method for keeping Expo's extensive construction on schedule:

"Probably the most important technique introduced by the Installations and other departments was the critical path method and schedule. [...] The critical path method of scheduling is based on breaking down any given project into specific elements and assigning deadlines for the progress and completion of each element. The method is, of course, only as good as its programming, and all personnel involved were therefore trained to feed their collective skills into this important part of the project, and to receive from it reports on the results of individual performances on a day-to-day basis."

An aerial view of Expo's man-made islands under construction.

A stunning photo of the groovy Pulp and Paper pavilion.

The album's largest section was the chapter dedicated to "The Participants". Divided into 3 parts - National Participants, Private Participants, Sponsors - this was the pavilion-by-pavilion overview of Expo 67. Listed in alphabetical order, an in-depth description and lavish photographs accompanied each and every pavilion and exhibit. The section was over 200 pages long.

The Memorial Album covered each and every Expo exhibit. Here, Monaco.

An aerial shot of the impressive U.S. pavilion.

Over the years, this book has remained my number one research tool for pavilion posts on Expo Lounge. Highly sought after, it is one of my most prized Expo 67 treasures... as much for its beauty as for its usefulness.

Photographs by Michael Francis McCarthy, used with permission.
Check out his ultra-fab blog: designKULTUR

Star Trek's Balok

noreply@blogger.com (Jason Stockl) — Sun, 04 Sep 2011 21:37:00 +0000

Balok was one of Star Trek's most iconic aliens.

Designed by noted sculptor and special effects master Wah Ming Chang, the sinister effigy appeared in the first season episode The Corbomite Maneuver.

Wah Chang was responsible for many of Star Trek's most memorable creatures - the Salt Vampire, the Gorn, Tribbles - as well as some of the series' iconic props: the Communicator, the Tricorder, the Vulcan Lute. The design of the Romulan Bird of Prey warship was also his creation.

Trek aside, Chang worked on a host of motion pictures during his career:

At Walt Disney, he created sculptures that were used as references by the studio's animators: articulated deer models for Bambi, and a maquette of the Pinocchio puppet. The spectacular headdress worn by Elizabeth Taylor in the 1963 feature film Cleopatra was designed by Chang as well, as was one of advertising's most famous mascots: the Pillsbury Doughboy.

The vocalizations of Balok were done by Ted Cassidy, the actor most known for his role as Lurch in the Addams Family television series. Cassidy had been hired to play in the Star Trek episode What are Little Girls Made Of and producers asked him to record Balok's threatening lines with his deep voice.

Throughout the years, the image of Balok has remained legendary in the hearts and imaginations of Star Trek fans and a symbol of one of the most influential television shows of all time. Balok enthusiasts can buy t-shirts, wall graphics... even a Halloween mask...!

The ultimate souvenir, the original Balok head was recently unearthed and put up for auction. It sold for 70,000$...!

The most memorable image of Balok for me was the one that appeared during Star Trek's final credits (above). I just loved that image of the bluish, cat-eyed alien in the eerily-lit control center...

images: (1-3-4) anonymousworks.blogspot.com
(2) google image search
(5) montage by author

Toronto's "Mini-Me" Expo 67

noreply@blogger.com (Jason Stockl) — Mon, 15 Aug 2011 21:04:00 +0000

Aerial views of Ontario Place (top), Expo 67 (bottom).

In the early 1970's, the city of Toronto was having a little Expo-envy. Initiated by the Government of Ontario, Ontario Place was Toronto's answer to Montreal’s Expo 67.

Like Expo, Ontario Place was built on man-made islands along the city's waterfront. Officially opened on May 22, 1971, the park encompassed 96 acres of which 51 acres were land fill.

Ontario Place's pods (top) and Expo's Quebec pavilion (bottom) floated on water.

The original Ontario Place consisted of 5 glass-and-steel pavilion pods elevated above the water, each pod being suspended from tension cables anchored to a central column. Glass staircases and walkways connected the pods, islands and shore. The overall transparency of these structures created a feeling of floating in open space between water and sky. [To me, squarish structures floating above water call to mind the Quebec pavilion, while open spaces, tension cables and transparent membranes recall the German pavilion...]

Ontario Place’s five pods were offset by 2 focal points: the Forum, an open-air concert bowl [Autostade, anyone?], and the Cinesphere, the world's first permanent IMAX theatre, housed in a geodesic dome. [Comparisons to the U.S. pavilion are obvious, while the origins of IMAX can also be traced back to Expo 67...]

Boutiques and restaurants dotted the Pod/Cinesphere complex, including a fine dining restaurant called The Trillium.

Toronto's Cinesphere (top), Montreal's Biosphere, 1974 (bottom).

Ontario Place was originally rather sparse, awaiting future development. Early brochures presented Ontario Place as a "work in progress" that would be ever-changing. [Expo 67's follow up permanent exhibition "Man and His World" was also supposed to be an ever-changing "work in progress"...]

All this free space meant that like Expo 67, Ontario Place visitors could take refuge in large, park-like rest areas. And like Expo, graphics and pictograms in brilliant primary and secondary colors guided visitors throughout the site.

Fireworks booming above Ontario Place (top) and La Ronde (bottom).

In the early years, Ontario Place was a success: during its short May-through-September season, the park drew some 2.5 million visitors annually... establishing it as the fifth-most popular theme park in the world.

In 1972, The Children’s Village was unveiled, featuring an interactive play environment for kids. It quickly became Ontario Place's top attraction, and a water play area opened in 1973; featuring water cannons, spray bridges and pedal-powered deluge fountains. [La Ronde had its own Children's Village, while interactive games and water play were key features of the Vienna Kindergarten...]

The Girls of Ontario Place

Ontario Place guides (left) Man and His World, 1968 hostesses (right).

Like Expo 67, Ontario Place's pretty hostesses drew a lot of attention:

Toronto Week magazine claimed: "There’s a lot to see at Ontario Place, and some of the easiest things on the eye are the attractive guides.”

The Globe and Mail did a photo spread of the girls, writing: “The 100 girls who are the hostesses at Ontario Place for the summer… have hot pants and pantsuits, a midi, a jacket and a stretchy yellow-and-white bubble blouse. Most popular are the hot pants. One girl commented ‘I’ve just got to shorten them.’”...

The Ontario Place theme song (above) was written by Dolores Claman, of Hockey Night in Canada fame. [Doesn't it sound just like A Place to Stand?]

images (1-3-5-7) robertmoffatt115.wordpress.com

(2) flickr.com

(4) archives de montréal

(6) chamblycounty.com

(8) alamedainfo.com

(9) montage by author

The Administration and News Pavilion

noreply@blogger.com (Jason Stockl) — Tue, 21 Jun 2011 00:01:00 +0000

The Administration and News pavilion was the nerve center of Expo 67.

Located in the Cité du Havre sector near Place d'accueil and the International Broadcasting Centre, the 3-storey structure housed the offices of Expo 67's administration and news services.

The award-winning building featured a stepped exterior, each floor overhanging the one below, providing maximum protection from direct sunlight.

Expo's 6 different administrative departments shared this space, including the public relations department (directed by Yves Jasmin), Logexpo - the fair's housing bureau, and Expovox - its information centre.

The building had 3 wings, each with its own entrance hall; the idea being that each area could be used separately if so desired.

The halls were decorated by large concrete mural sculptures, the work of leading Canadian artists. Different artists gave each of the entrances its own distinct look.

Impressive facilities were set aside for international journalists visiting Expo:

A bowl-shaped, 150-seat amphitheatre equipped with 6 television cameras was used for press conferences. There were 4 studios reserved for filmed interviews, and 9 booths for radio broadcasting. Distinguished guests and newsmen had access to a special reception salon and a completely equipped press room. Simultaneous translation facilities and interpreters were continually on hand.

The building also featured a cafeteria, restaurant, bar, and underground parking.

The landscape area between the Administration and News pavilion and the International Broadcasting Centre contained a large reflecting pool and a sculpture.

Unlike most Expo 67 structures, the Administration and News pavilion was designed to be permanent. The building still exists today, housing the offices of the Montreal Port Authority and the Maritime Employers Association...

images: (1) expo67.ncf.ca
(2-3-4) personal collection (Montréal magazine)

John Fuevog's "Munster" Shoes

noreply@blogger.com (Jason Stockl) — Sat, 14 May 2011 13:49:00 +0000

Born and raised in Vancouver, British Columbia, footwear designer John Fluevog began his career in the late 1960's at local shoe shop Sheppard's Shoes. In 1970, he formed a partnership with Peter Fox to design and sell stylish shoes under the name Fox and Fluevog.

After an amicable split in 1981, Fluevog went on to open his first independent store, John Fluevog Shoes, in 1985.

Fluevog's quirky and avant-garde designs garnered him a cult following with the creative, artistic and rebellious crowd. From ultra-pointy to overly-round toes, platform shoes, severely squared heels, handmade clogs; and adorned with art-deco designs, swirly, colorful patterns, peace signs, hearts, etc.

In 1990, Lady Miss Kier donned a pair of John Fluevog's Munster shoes on Deee-Lite's World Clique album cover, thus making the trumpet-heeled platforms an iconic symbol of the '90s House/Club underground DJ scene...

A limited-edition re-issue is available at the John Fluevog website.

images: fluevog.com