The brilliant Ellen Von Unwerth shot an extensive pictorial of Lady Gaga in vampire drag for Out. The exclusive Out feature is called The Lady is a Vamp. The shoot styling is credited to someone named Nicola Formichetti who is seriously talented and who Bing informs me is the creative director of Dazed and Confused and is responsible for some of the fashion in Vogue Hommes Japan, V, Arena Homme, and others, as well as of course out. Always fun to discover the work of creative people I have not come across before.

Out calls Lady Gaga “Pop’s newest — and gayest — superstar”. One of the things I like about Lady Gaga is that I feel she is someone post-orientation in her approach to sexuality. She has stated often in interviews that she is attracted to women physically but only has romantic relationships with men. I’m not sure if that makes her super-gay, but maybe I am just feeling cantankerous today about people being so bent on labeling sexuality. I do not feel that an individual’s sexuality generally belongs in a tidy little box with a label stickered on it.

Then again, from an editorial perspective, I’m pleased that Out indentifies Lady Gaga as gay, however she defines herself. Because this gave Out reason to publish a beautiful portfolio of images of Lady Gaga shot by Ellen Von Unwerth. They did a ton of different set-ups and have both black and white and color and a whole spectrum of spooky themes. Lots of vampire and gothic tropes photographed appealingly. Smoky dark eyes, coffin, sunglasses at night, blood, nudity (probably sfw nudity) fangs, and cute skeleton in combat boots. Definitely worth checking out.

I went to a fashion show soiree last night. My friend writer/gadfly Clint Catalyst organized the event for designer Jared Gold. Clint and I are both eclectic individuals and we have kind of a lot of random points of intersection. And we’ve both been doing what we do for a while.

So the most unsettling part of the shindig was trying to place who people were. This is difficult when a person could be someone I photographed nine years ago and haven’t seen in between. Or the person could be someone who did my hair once. Or the person could be someone I’ve only seen in media. There is always a risk when greeting someone on dim non-specific facial-recognition alone because they could turn out to be someone you’ve only watched on television or MySpace or someone you would shoot (not with a camera) if you had a license to kill. But a significant portion of folks there are people I know and like but may not have seen recently. So it was like a real life wetware version of one of those aging programs they use to find missing children.

One person at the event I saw and could not place was artist/designer Elizabeth McGrath. I attended her Broken Dolls fashion show in like 2002 or 2003 and featured it in our SWAG project. But I’d seen her in sort of business mode and not in-person in the intervening years (I think.) Clint Catalyst re-introed us and, when I said her hair was different now, she laughed and pointed out that she was wearing five or six hairpieces stacked up on top of one another. Normally, I don’t like wigs, but what Liz McGrath was wearing was much more complicated and high-end than a plain wig and she looked fabulous and she probably designed it herself like the spiffy In the Year of the Pig Fish piece pictured above.

At any rate, we’ll have video coverage of the actual fashion show posted some time soon. Forrest Black and I had front row seats (three sets of them actually as they kept redoing the seating chart), so you’ll get to see it all. We ended up next to World of Wonder’s Thairin Smothers, cool Party Monster author (and snappy dresser, even if he had to go with his second choice outfit) James St. James, and Danny Franzese who has curated at the Royal/T gallery which I’ve been meaning to check out, so our final seats ended up being more entertaining than our starting ones, even if Thairin and I had to be very cozy. I say you’ll get to see it all, but I admit that we’ll have to cut a lot of boobage. I never get why people make a big thing over something being about fashion and then have totally not street-legal outfits that a lot of venues can’t even run pictures of. Maybe it is just because I will absolutely wear outlandish couture that I think runway looks are supposed to be wearable.

My questions for the day are twofold. First, would you be comfortable strutting down a catwalk (outside of a strip club) topless? Second, how do you handle it when you see someone you recognize but can’t immediately identify?

Years ago, a photo Forrest Black and I shot of Malcolm Jamal-Warner was almost published by Vibe. At the time, Malcolm Jamal-Warner was starring on Malcolm & Eddie with Eddie Griffin, but still best known for whatever it was he did on The Cosby Show. (I can’t speculate because I’ve never seen The Cosby Show, although I have seen a Chris Rock spoof of it.) I admit that I was interested in shooting him mostly because he was a charismatic guy with the world’s largest diamond tongue ring, at a time when tongue rings were still, ya know, radical. Vibe expressed interest and held onto the print for months. I was really excited to appear in such a large circulation music and lifestyle magazine then, but, alas, they eventually passed and sent my stuff back. No idea why to this day.

But now I know Vibe will never be on my list of credits because effective today, the magazine has ceased to exist. Staffers were in the middle of work on a Michael Jackson tribute issue when they received a memo, from CEO Steve Aaron, telling them they could basically go home. Vibe was hit hard by a combination of lack of access to venture capital and the huge decline in advertising, especially in Vibe’s bread and butter automotive and fashion categories, due to either recession belt-tightening or companies plain going out of business. I’m not a huge fan of venture capital because I feel it puts the banking people in control over creative, while allowing companies to spend vast sums on overpriced parties and coders and real estate in a way which can make otherwise viable businesses unable to compete in an environment where the venture capital-funded businesses will soon also go under due to irrational business plans. Nonetheless, I’m not thrilled that the taxpayers bailed out the banks but not really the automotive industry and this means companies like Vibe have to be shuttered.

I would think the Vibe web site would be an asset with some value, and the closing memo says digital did well for them, simply not well enough to counterbalance the rest in this economy, only apparently it is not for sale, so it may have too many liens from venture capital folks on it or something along those lines. At any rate, the issue of Vibe on the stands now, with Eminem on the cover, will be its last and the web site will stop updating immediately and be closed in the next month. I love magazines and it saddens me to see this rash of magazines folding.

Singer/songwriter Lady GaGa appears on the cover of the current issue of Rolling Stone. The cover is shot by photographer David LaChapelle. David LaChapelle has shot many Rolling Stone covers, is known for his bright colors and elaborate sets, and started in photography taking naked pictures of club kids. Lady GaGa went to an Upper West Side high school and became a New York club kid. Maybe I am biased because I enjoy Lady GaGa’s work and I enjoy David LaChapelle’s work and I’ve spent a fair amount of time inside edgy nightclubs, but I don’t get what all the fuss is about.

Rolling Stone has certainly run nakeder covers than the Lady GaGa one. Anyone remember the full nude of model Laetitia Casta on a bed of petals? It is not like you’d find artistic nudes likes these on PukingOnPenis.com. Seriously don’t click that, but you get what I mean. Today, in a world where all sorts of depravity is a click away, why does a teensy bit of authentic club culture make so many people hyperventilate?

Although a certain sort of bohemian club culture has existed since time immemorial and that artistic counterculture has always made some people uncomfortable, is it really that big a deal? Or is the problem that we have come to expect pop stars to be the best-looking possible actresses hired by management teams with songwriters and stylists and something which came about more organically now seems wrong? Lady GaGa is widely credited as having written on songs for Akon, Britney Spears, Fergie, Pussycat Dolls, and oddly enough New Kids on the Block. Although I’m not sure how or if Lady GaGa is credited in ASCAP, I’d be happier if I could find her songwriting credits. Still, I tend to believe that she actually writes songs. Even if you don’t find bluffin with one’s muffin as entertaining as I do, surely the combination of artist and performer is still better than solely artist or solely performer. At the very least, it is not worse, is it?

From my point of view, the most controversial thing about the David LaChapelle Rolling Stone cover featuring Lady GaGa is that New York fashionistas credit the whole bubble outfit look to designer Hussein Chalayan. Although neither a bubble dress or bubble corset appear on the web site for Hussein Chalayan’s 2007 collections, I’ve seen credible photos from his runway show stuff for that year. The designer was reportedly disappointed that Lady GaGa knocked off his design, rather than wearing the original.

So, if you’d like to recreate Lady GaGa’s Rolling Stone look, you now know where to commission your own bubble outfit, if you don’t feel crafty enough to make one. Then all you have to do is round up a bunch of your naked and barely-clad friends and get wet and messy. Photos optional.

Rolling Stone #1080 is on newsstands now.

The Kelburn Castle and Estate fully opens to the public on Easter and maintains regular hours from Easter until November second. Although Kelburn Castle has many historical and architectural features of interest, the aspect people tend to find most notable is the graffiti-covered portion.

A couple of years ago, it was determined that parts of the concrete rendering were probably going to need to be replaced in the relatively near future. Concrete rendering or plastering is the surface placed on the outside of stone or brick walls for a combination of weatherproofing and texture. In this case the harling or pebbledash was applied to the walls primarily because soft sandstone requires careful weatherproofing to last. David and Alice Boyle, the children of the tenth and current Earl of Glasgow, thought it might be fun to use upcoming renovations as an opportunity to have famous graffiti artists paint a portion of the castle.

So the family commissioned a team of Brazilian painters called Nina and Nunca and the duo Os Gemeos or, translated from Portuguese, The Twins, who are known for their yellow figures and ability to garner establishment regard for what some might view as vandalism. This team of four graffiti artists were invited to do their thang on a castle wall legally, instead of guerrilla style. MTV competition-winning audiovisual artist and music festival scenester luminary Elliot Thomson of Preamptive and the multi-pronged artist group the Novak Collective produced a time lapse video of The Graffiti Project. The project was undertaken in residence and completed in early summer 2007, but, despite the fine reputations of all the artists involved, a debate still goes on over whether this was a desecration of a beautiful historical landmark or pretty much the coolest thing ever.

I don’t think I can think of any dwelling I would get more of a kick out of than a castle fortress with beautiful colorful graffiti painting on it. How often does one get to like something for both hipster and medieval reasons at the same time?

It probably comes as no surprise then that I think the graffiti art is a cool idea. I also think it is in keeping with how such fortresses tend to be extended in different styles over time. Lord Glasgow states:

“Kelburn Castle, unlike most grand houses in Scotland was not planned by an eminent architect like Adams or Lorrimer. It simply evolved over a period of some 700 years. As the family became richer or more important, it grew organically. Over the years, various Earls of Glasgow, or more probably their wives, changed sitting rooms into bedrooms, partitioned rooms to make extra corridors, altered staircases, raised the level of floors and ceilings, mover kitchens from one end of the house to the other and changed the front door from the north to the south side of the house and then back to the north again. The result is that Kelburn is an eccentric half castle, half-house, constantly in use and still very much lived-in.”

Some of the concept of painting part of the castle was consciously to unite urban art and rural canvas. Looking at the history, though, the whole thing is very much in keeping with the origins of the estate. It is always odd for Americans, with our comparatively brief national history, but the Europeans really track where things come from for centuries, although there are always those who contend that some of European genealogy and history is at best excessive in detail.

At any rate, Kelburn began as a Norman Keep when the de Boyville family, who came from Normandy with William the Conqueror in 1066, moved to Ayrshire in 1140. It is estimated that the Norman Keep edition of the building on the Kelburn Estate was completed by 1200ish. Some time in the following centuries, the de Boyvilles evolved their family name to Boyle, which lead to cultural confusion over whether that was a proper Scottish noble name or an Irish name. Because Europeans care about such matters, the Boyles, despite their seven or eight hundred-year-old estate and titles, are often left off various lists due to their lack of an official tartan and a suspiciously Irish-sounding name. Technically, their name is Norman invader and many families have invented official tartans to get in on the whole uniforms and team colors culture. From an American perspective, I’ve spent time in Scotland and I’m probably more educated than the average American and I probably could not differentiate between Scotland and Ireland on a map with a vintage traditional broadsword to my head. Whether or not the threatening broadsword had creative graffiti on it.

In 1581, a more impressive castle was built around the original stone structure. During the following century, the Boyles got very paid in shipping and shipbuilding and, ahem stamping out smuggling in service of Customs & Excise. The Boyle family was rewarded for their public service in 1703 with the title of Earl. When he received his title, the first Earl of Glasgow had recently completed construction on Kelburn House, a mansion built to address the difficulty of castles being considered unfashionable at the time. If the first Earl was so concerned about what people might think, he is probably turning over in his grave over the idea of graffiti adorning Kelburn Castle, but it really is in keeping with updating with the times the same way he did. In the 1800’s, the fifth and sixth Earl of Glasgow caused the size of the Kelburn Estate to dwindle, the fifth through a fabulous fashionable gambler scenester lifestyle and the sixth through endowing churches. In between being seen at all the best parties and religious events, they did manage to put a Victorian wing around one of the 1581 towers.

In 1977, the current and tenth Earl of Glasgow and his wife Isabel were culturally generous enough to open the grounds and buildings of their family home, of many generations, as a park and museum for part of every year. You can now visit the incredibly beautiful and storied Kelburn Estate from Easter through November second.

The end of Spring was approaching in San Francisco and that meant that the annual Emerging Illusions Alternative Fashion Show was soon to happen. For those unaware, Emerging Illusions is meant to showcase up and coming fashion/costume designers from the Goth, punk and industrial scenes.

Again, I was honored to be asked to set up a mini studio backstage and shoot the models and designers, make-up artists and hair stylists and anyone else who wanted to pose.

The smell of make-up and hair spray filled to backstage area. Nearly every square inch of floor was covered by people, clothes and props. Activity was everywhere. Make-up being applied, hair being styled, models dressing and undressing, dancers stretching out. It was more difficult to negotiate than the dance floor when the DJ plays everybody’s favorite song.

And it was no wonder that it was packed. Each designer is limited to only five or six models and provides their own hair and make-up people. This year, saw 14 designers: Somnabulance, Wisp-her Wear, Gibbous, Severd, Eirik Aswang, Lisa Goblin, The Window Lady, Dragoness, Chelsea Aragon, saKAna Desgins, Larvae, Shawk Designs, Shadow Bound and Clotho Constrictor. Plus there were stage crew running the show, photographers & videographers and the occasional friend of someone.

As I set up my equipment, I looked over the outfits being worn by those already dressed. With fourteen designers, their designs were as diversified as you would imagine with outfits ranging from everyday wear to clubwear to costumes to things you’d probably only wear at Burning Man if you wear anything at Burning Man.

Though I really enjoy the energy backstage, my only regret in being backstage is I don’t get to see the show. This is because Emerging Illusions is not a simple fashion show. One thing that the organizer, Miqua, has done, is to add broader appeal by eschewing the catwalk. No models simply strutting up and down the stage in this fashion show. The designers are encouraged to create mini performance pieces to showcase their creations. So rather than a fashion show, you get a show that has fashion.

Luckily, after I had everything set up, I had some time to watch some of the rehearsals. And again, the range of performances varied as vastly as the style of clothes. From dolls coming to life and turning their little girl owner into one of them to handmaidens who feed their queen to sea demons to a post-apocalyptic, spy-thiller demon hunt amid snowing fallout. I was even asked to stand in for Vampirabat and Nixon Sixx during one rehearsal. Not an easy task, as I am the opposite of what comes to mind when the names of Vampirabat or Nixon Sixx even come up.

Even before the show started, I was taking pictures and shot nearly continuously for the next six hours. And with the exception of a wayward mannequin punching a hole in my backdrop and fisticuffs nearly breaking out between two groups of models over who was going to shoot next, it was a pretty fun-filled evening.

The show for 2009 is already looking to be the biggest of them all.

If you’d like more information on the show or the designers or where to purchase clothing, visit the Emerging Illusions website.

Speaking of the folks over at Kink, they have also recently partnered with Marquis to distribute Peter Czernich’s White Room series via their Kink on Demand service.

Blue Blood readers are probably familiar with Marquis’s flagship glossy fetish print magazine through Forrest Black’s and my contributions and Big in America column for the past eight years. Marquis launched after the late lamented <<O>> Magazine folded in 1994 and later added everything from events to latex sales to books to videos to a naughtier sister magazine called Heavy Rubber in 1997. I think Peter Czernich may have been doing his extremely fetishistic White Room series, on video and in images, since even before he started doing Marquis.

At any rate, this is serious rubber fetish play and it is now possible to view it where you can purchase just one scene at a time via Kink on Demand. Says Kink’s John Sander:

“[Peter Czernich] has helped define the face of fetish fashion and eroticism for 20 years. Many of our customers are very vocal about their love of latex and other fetishwear and fetish scenarios, and Marquis does that better than anyone — it’s exactly what those customers have been asking for. These are premium European videos that have been difficult for fans in North America to get.”

For his part, Peter Czernich says:

“Marquis and Kink have deep synergies in the fetish world and we are looking forward to working closely together. We consider Kink.com one of the leaders in the fetish industry with high quality, dedication and a phenomenal concept. We’re proud to enhance its portfolio with our high-end fetish movies.”

Corporate Goth is a familiar expression in East Coast cities where people tend to separate their playtime from their workdays. I was living and working mostly in Washington, DC and Baltimore when I founded Blue Blood in print. I did primarily contract design work and most of the companies I worked for were conservative federal contractors, management consultancies, and lobbyists. My hairstyle at the time consisted of only natural colors, albeit definitely not colors which would appear striped together in nature. On my own time, I believed that shirt was spelled L-I-N-G-E-R-I-E. Heck, one of my neighbors harangued me from across the street, telling me I belonged in a whorehouse for what I wore just to clean my car. (I called the cops on her.) But, when I was seated at a computer in someone else’s place of business, I might not have looked like the most standard employee (or contractor). My clothes might have tended towards a darker palette and my hair was not really a businessperson’s cut, but it was usually businesslike enough. (When I worked at EDS, my manager did complain to my agency about my sexy stockings.)

This might go without saying, but I’m going to state the obvious here: I read a lot of cyberpunk at the time. I loved William Gibson and John Shirley and Richard Kadrey and Norman Spinrad and Pat Cadigan and Walter Jon Williams and George Alec Effinger and of course Bruce Sterling’s Mirrorshades anthology was seminal. The list goes on, but one of the salient points of the emerging cyberpunk genre at the time was that it acknowledged both street culture and corporate culture. Cyberpunk was, in many ways, first and foremost a sociological study of how the human need for tribalism might manifest itself in a future with new technology.

So there were the heavily modded post-human gothic and punk tribes with writhing tattoos and tusks and animal muscle grafts and music implants in their ear drums. But there were also the sleek corporate melds of gangsterism and business core values. I don’t know how it was where you lived, but, where I was, both styles had a real appeal to counterculture people striving to achieve their personal goals and power, despite preferences for rebellion and individuality and flamboyance. This is where Corporate Goth comes from. The whole steampunk fashion thing sort of built on and evolved from some of this scene as some of the cyberpunk authors started writing steampunk and Neal Stephenson burst onto the scene. But the evolution of steampunk is another article.

In Los Angeles, many of the sleek black business stylings of corporate goth are just dressed for a certain sort of meeting. This is aesthetically pleasing to me, but it removes some of the tribal appeal.

Xian (pronounced “zigh-ahn” despite my stupid left hand always trying to add a letter t) Vox is not your typical Los Angeles promoter and DJ. She is interested in varied philosophies and works tech industry day jobs. So it sort of makes sense that she would like a corporate goth theme. A much smaller percentage of Los Angeles denizens who like spooky nightclubs have ever worked a corporate job . . . at least a much smaller percentage than it cities where it is common to be at least as interested in books as in movies, at least as interested in the heart and mind as the body.

So, anyway, Xian did a Hex VIP event as a run-up to a larger ball and Blue Blood were media sponsors of the event. I did not ask Xian what her reasons or inspirations or motivations were, but one of the possible themes for the event was Corporate Goth. So here are the gothic photos Forrest Black and I shot at the event. If you might have otherwise wondered at quite what the theme was, now you know. Unless, of course, you didn’t read this and just went straight to the pics. I think everybody looks really great, so enjoy.

Sometimes I feel like I am just on vampire time. Something will be on my to-do list and I’ll feel like darn-it-some-time-has-passed. Only it will be more time than seems possible in my gut response. Anyway, it has been on my to-do list to bring you all more fashion coverage on BlueBlood.net. So I’m going to start checking this off my gigantic to-do list with this exclusive never-before-seen interview with Tyler Ondine Whitman of Heavy Red Noir Couture. Tyler and I had a good interview and I’m sorry it took so long to get it live. In my defense, the file was called blueblood-interview, so it was not super obvious what was in it, while it was sitting on my hard drive. Without further ado, I bring you the feature interview on Heavy Red:

AG: How did you first get into being a designer?

TOW: I love clothing that looks like it is straight out of a beautifully demented dream. I wanted my clothing to look like it was from a dark cabaret ball in a haunted estate at the edge of time. Eventually that led to designing and making gothic clothing for myself. Once I got started, well, of course it became an addiction. I am still making clothes for myself, as well as the ladies, gentlemen and other creatures of the night who attend the dark balls and walk the night as elegant, tortured souls.

AG: What is your fashion/educational background?

TOW: Gothic clothing is a style all its own, so the best way to learn it is by doing it and wearing the results. I would go to Perversion, or some other club or event, wearing something I had just designed. If I felt fabulous and dark as I walked in, shadows in all the right places, like a queen of the underworld, then the design was right. I also studied at Parson’s in NYC, but that was mostly for photography.

AG: What are your favorite design materials and why?

TOW: Currently, I enjoy working with gauze. It’s got a lot of interesting implications, some obviously being morbid. Those implications appeal to me, I won’t lie. It is also really malleable. It can be stretched and twisted in the most interesting ways. I always get faint at the sight of the perfect wool pinstripe. I am having fun with my new dresses which incorporate charmeuse, linen and satin – very form fitting, seductive and naughty.

AG: What are your favorite fetish materials i.e. latex, leather, metal, satin, silk, corsets, boots, etc. and why?

TOW: I love buckles & straps – anything that binds. When you strap something it becomes more sexy; restrained, tragic and dangerous, like Joan of Arc at the stake. I love ripping straps and sewing them on everywhere. You can never be too safe when restraints are involved…

AG: What do you find inspirational from a design perspective? Other designers, music, books, movies, etc?

TOW: The shadows on the wall of my bedroom at night are great. Sometimes I look at them and see a serial killer, and sometimes I see a beautiful skirt. I am always hoping for the skirt. Inspiration is everywhere. I look at a lot of art, because sometimes people who draw come up with the most interesting designs. They don’t have to worry about things actually being worn by anyone, after all.

AG: What are your favorite fashion events?

TOW: Runway. I love watching a Tom Ford dress saunter down the catwalk. Heavy Red will be doing a runway show at some point in the near future, and it is going to be fabulous. It will be like going to the castle of the damned at the edge of the haunted forest for a huge party, with spectacular people and decadent clothing. It will be an event, and we will keep you posted on it.

AG: What sorts of occasions do you feel your designs are best-suited for?

TOW: When you would like to be noticed by someone, our clothes are perfect for that. They are dark and sexual, but elegant. We have evening gowns for haunted midnight balls in Paris. We have shirts and skirts for going out to gothic/industrial clubs and dancing, hanging out, or other devilish activities. We have corsets, waist cinchers, and other details for layering. Whenever you want to be the princess of a dark and spooky wonderland,that is the occasion for our clothing. Each piece is designed to be sensual, lush, and sinful. The designs are simple, flattering, and darkly delicious. I really want to make people look great, and get noticed by the person they would like to get noticed by.

AG: What celebrity would you most like to dress?

TOW: I would love to dress Marlene Dietrich. She was so fabulous, and it would be a challenge to see if I could design something for her. I don’t usually design with blondes in mind, so that would be another challenge. I would give anything to see her perform a song in something I had designed.

AG: What types of designs are you introducing now?

TOW: We are introducing our Winter line, and I am extremely excited. We are releasing an all new line of corsets that will make you drop dead with delight… All of the corsets are steel boned, fully lined (they look as gorgeous on the inside as the outside)with an extraordinary fit. Our dresses for this season are so luscious. They are fabulous, bold and dark. I can picture them on the Queen of Nightmare land. The skirts this season are very versatile. You can wear them to a club, to a funeral, or wherever. We also have deliciously tragic long sleeve shirts, new naughty girl gothic ties, men’s shirts, and other things that I may have forgotten.

AG: Any other fashion background or particular inspirations or news or anecdotes or promo whatever you would like to mention?

TOW: We are always striving to top ourselves. The designs rely on simplicity, and a focus on flattering the natural lines of the feminine frame. We have a classic fit for woman with curves and women who want to have curves. Elegant lines mixed with raw and tattered materials. Black, always black. There will be a lot of experimentation with different bindings and fabrics. So much fun stuff. You are going to love it.

TOW: We at Heavy Red are here to create a spooky dream world for your pleasure and ours, and it is a horribly beautiful thrill. I am honored to be part of the Gothic community and I love having the opportunity to dress you. The response I have had to Heavy Red has been stunning, and I just want to thank everyone. I am going to strive to continually make great clothing for all of my dark and tortured peers.

Every once in a while, I like to watch old black and white movies. I’m particularly partial to ones where men speak in clipped strong rhythms and people get murdered. But I’m open-minded and my TiVo recently suggested that I try watching The Wild One.

The Wild One is the classic 50’s flick where Marlon Brando’s Johnny character, when asked what he was rebelling against, famously answered “What’ve you got?” It is difficult to watch the movie in the present day and fully grasp the impact it had at the time. Supposedly many people felt that James Dean was a Marlon Brando wannabe and Brando’s swaggering performance in The Wild One informed the later acting careers of men like Steve McQueen and Jack Nicholson. The rival motorcycle gang, lead by Lee Marvin’s Chino in the movie, is called The Beetles and is believed by many people to have inspired the name of the band The Beatles with an a. I’ve seen mention that Sid Vicious of the Sex Pistols had a jacket based on Brando in The Wild One or possibly even the specific jacket used in the film, but I haven’t been able to find confirmation more solid than rumor on this. Regardless, even today, everyone from lesbian drag kings to Leonardo DiCaprio takes inspiration from the seminal role of troubled Johnny Strabler. Heck, I personally even commissioned a Cookie Monster Brando before I ever saw the movie in its entirety, so ingrained is this flick in the American consciousness.

Despite this, watching today, it is difficult to know what mood the movie could have evoked when it came out in the 50’s. The movie was released in America in 1953 and was banned in the UK upon its overseas release in 1954. Ben Maddow, one of the writers on the film, went uncredited at the time, probably because he was blacklisted due to McCarthy era paranoia. So the movie is about rebellion. It inspired generations of rebels. The bike Brando rides is apparently his own personal Triumph. Even one of the writers on the movie was an outlaw. So it just seems like the movie should feel truly menacing. But it honestly feels more filled with innuendo and symbolism than menace.

Rebel Johnny has a second place trophy strapped to his bike, which has given thousands of film students what to talk about for half a century. Chino keeps stressing that he really misses Johnny and really wants to “have a beer” with Johnny to the point where the viewer becomes certain there is some sort of homosexual code in the invitation. The man driving the car which injures one of Johnny’s motorcycle club followers is said to be hopped up on vitamin pills and overstimulated. Were they prescribing Dexadrine to seniors in the fifties? I have no idea, although I’m terribly curious. I think of leather jacketed bad boys as being feral and rail thin grifters, but the BRMC or Black Rebel Motorcycle Club guys all appear to be gainfully employed and capable of paying for their beer and coffee and maybe a nice sandwich.

Johnny Strabler and the guys just don’t seem that dangerous by today’s standards. It is hard to tell how much of that is attributable to the times or the intentions of the moviemakers. Sunset Blvd. for example is a far darker movie and it predates The Wild One by only three years. Perhaps McCarthyism lead to a lamer approach to cultural danger in movies. Perhaps the filmmakers wanted to create something camp, although this seems unlikely for a director like Laslo Benedek who first became known in America for doing the first movie version of Arthur Miller’s Death of a Salesman, also a darker movie now that I think about it.

But maybe in 1953, a large group of guys dressed all freaky in leather and what my grandmother used to call “dungerees” were just terrifying. I certainly know some people in the here and now whose posturing for what they perceive as the normal folk makes me roll my eyes. And would probably come across campy in a movie. Yet a group of thirty or forty of them dressed to kill would probably frighten most small town dwellers. Marlon Brando’s Johnny Strabler is easily grabbed and beaten by the proper men of the town. This would probably be the same fate that would befall a lot of people whose eyeliner and hair frighten and horrify even now. You really can’t judge who will be dangerous by what they wear. A leather jacket or colored contact lenses might make a person doable, but it doesn’t make him dangerous. The same can be said for a suit. You just can’t tell what a cornered person will do by the cut of his gib. Actually, liking the cut of someone’s gib is a nautical reference, but doesn’t it seem like it should refer to haberdashery?