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August 18, 2015

Fan Phenomena: James Bond gives 007 fans more; while Sugoi invites you to the world of Bill Murray

Jack Yan/12.09

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In the year of a new James Bond movie, many books emerge. Invariably, there’ll be one on the films themselves, taking readers through the 50-plus years of the Eon Productions’ series, and, if it’s very comprehensive, the 1950s CBS TV version of Casino Royale, the 1967 spoof of the same name, and Never Say Never Again will rate more than a mention. There’ll be something about Ian Fleming, and another book on one aspect of the Bond world (gadgets, stunts, music, or something else). Seasoned Bond fans will think the circus is in town again, because the new book about the films adds little to their existing knowledge.
   Claire Hines’s Fan Phenomena: James Bond, from Intellect Books (£15·50, US$22, releasing November 15), is something different altogether: Bond from an academic and completely cultural viewpoint. Intellect is famous for its titles on popular culture and creative practice, with a rigorous academic bent, and Fan Phenomena: James Bond continues the series but takes the reader into the world of Ian Fleming’s super-spy.
   Hines serves as editor, and there are 11 very distinct contributions to her volume, dealing with everything from canonicity to 007’s appearance as ‘Ladykiller Jimmy’ in Alan Moore’s comics; Bond as a cult brand and cultural phenomenon to the clothes he wears; from the James Bond films through a feminist viewpoint to analyses of his masculinity and identity. Interspersed between these are four ‘Fan Appreciation’ sections, featuring an interview with über-fan and former Bond novel continuation author Raymond Benson, artist and collector Peter Lorenz, 007 Museum owner James Bond (who had his name legally changed by deed poll) and cross-players CousinCecily and Winter.
   Even the most seasoned Bond fan might not have considered the impact of the character, books and films, and the book fulfils a very important role: it gives them something new. William Proctor’s analysis of continuity gets the book off to a healthy start after Hines’s introduction, though typographically it suffers: the type is inexplicably small, though the layout is modern and the visuals help lift things. Getting Raymond Benson in there early on also helps position Fan Phenomena: James Bond as a book for the cognoscenti as well as those who want an academic examination, and Benson reveals a little more behind the scenes of his years as the official continuation author.
   Matthew Freeman, in considering the many media in which Bond occupies, including the gaming world, shows just how the phenomenon breaks the established rules and succeeds, while Jesús Jiménez-Varea and Antonio Pineda’s chapter on Moore’s comics is bound to take many fans into uncharted territory. Joshua Wille’s chapter on fan edits does the same: while many know about ABC-TV’s cutting of On Her Majesty’s Secret Service when it aired on US TV, but there are numerous fan edits made in the digital era that had this author hunting the forums.
   Artist Peter Lorenz’s Bond film posters are stunning and present a nice visual break before Lucy Bolton’s chapter analysing the phenomenology of Bond. Bolton’s piece is perhaps closest to those Bond “collectable” books that come out with the films as she analysed the films from Dr No to Skyfall, and fans may have their own interpretations of their cultural significance through the years. Editor Hines’s own chapter looks at Bond as cult brand, and is fascinating in her study of the 1960s Eon films. Hines reconciles how cult and mainstream come together with the Bond series, successfully. Lisa Funnell gives Bond a feminist slant and the enjoyment she derives as an assistant professor teaching women’s studies.
   Stephanie Jones looks at the Bond lifestyle but primarily through the analysis of one work, The Complete James Bond Lifestyle Seminar, which she reveals is relatively light on Bond references, leading to a less satisfying chapter—though it could hardly be blamed on Jones. Llewella Burton’s chapter on Bond and fashion, and how it became a style through the rise of merchandising as the movies became blockbusters with Goldfinger is punctuated by photos from Galeries Lafayette as it opened a James Bond boutique in 1965, again gold dust for Bond fans. Karen Brooks’s and Lisa Hill’s chapter analyses the new and old masculinities through the three Daniel Craig films of 2006, 2008 and 2012.
   Crossplayers CousinCecily and Winter talk about their love of James Bond and Q, leading neatly on the final chapter by Elizabeth J. Nielsen, which deals with Bond’s homoerotic moments and subtexts. She traces them to Fleming himself in the torture scene in Casino Royale, before covering the flirting between Bond and the new Q in Skyfall, which itself has a phenomenon, attracting both women and the LGBTQ community.
   This is a volume for the intelligent Bond fan, someone who appreciates learning about the impact of Ian Fleming’s creation. Of course the films are covered more, as it was through them that Bond became a global phenomenon. The reader walks away having been better informed: this is not a Bond book for the light reader who wants reassurance of the facts they already know, but one which gives them something more satisfying to consider.




Top A scene from What About Bob?, by Jon Boam. Centre Lost in Translation, by Grace Danico. Above Lost in Translation, by Henry Kaye.

On a briefer note, but still tied with film, Sugoi Books has released an A5 book called Cook Your Own Food: a Bill Murray Scratch and Sniff, retailing at £6. There are 20 pp., with 10 smells, with some stunning illustrations, with artists reinterpreting key moments from Murray’s films, focusing on his culinary habits. ‘Scratch the smelly pads at the top right and enter the world of Bill Murray,’ the publisher asks, and you are spoiled with scenes from Lost in Translation, Caddyshack, Groundhog Day, What About Bob?, The Life Aquatic with Steve Zissou and others. For £6, the illustrations are so good it doesn’t even matter if you have a poor sense of smell.—Jack Yan, Publisher

August 12, 2015

Norell New York launches, with Riley Keough fronting Michael Avedon-shot campaign

Lucire staff/15.13

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Norell New York, named for the famed American fashion designer Norman Norell, will be hitting Bergdorf Goodman in New York and Neiman-Marcus throughout the US this month with a range headlined by a limited-edition parfum with a hand-crafted bottle by Baccarat priced at US$1,500.
   The 50 ml parfum is joined by a 100 ml eau de parfum at US$150, a 189 g body cream at US$95, and a 240 ml body oil at US$80.
   Riley Keough fronts the campaign, created by Parlux Fragrances with ad agency Lloyd & Co., and photographed by Michael Avedoon.
   The choices of Keough and Avedon—the grandchildren of Elvis Presley and Richard Avedon respectively—are meant to celebrate both the legacy of Norell and the next generation of American influencers, says the company.
   ‘We wanted to unite Norell’s strong brand heritage with an elegance that is resolutely modern. Riley Keough and Michael Avedon … [are] both born from enduring legacies and both in command of unique talents for current times,’ said Doug Lloyd, founder and creative director for Lloyd & Co., in a release.
   The new floral fragrance has been created by IFF perfumer Céline Barel, with top notes of galbanum, bergamot, pear and mandarin, mid-notes of jasmine petals, peony, orchid and gardenia, and basenotes of the expensive orris butter, vetiver, sandalwood, vanilla and musk.
   Norell, whose career extended back to silent films, had dressed Marilyn Monroe, Jackie Kennedy and Lauren Bacall, and First Lady Michelle Obama donned a vintage dress of his design in 2010.

August 9, 2015

Footnote New Zealand Dance celebrates its 30th anniversary this August with première and events

Lucire staff/14.02

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Above Footnote at its home at 125 Cuba Street.

Footnote New Zealand Dance celebrates its 30th anniversary this year, and on August 28–9, it will première 30Forward at the Wellington Opera House to mark the anniversary.
   The première will take place in Wellington, before heading to the Christchurch Arts Festival, Auckland’s Tempo Dance Festival, then to Gisborne, the Kokomai Creative Festival in Carterton, and the Tauranga Arts Festival.
   The production features highlights from past works, as curated by founding director Deirdre Tarrant, and a new commission from choreographer Malia Johnston.
   Footnote will begin its celebrations on August 21 with The Art of Footnote, at a venue on Cuba Street to be announced during August. This exhibition shows posters, programmes and concept designs from Footnote over the last three decades, and runs till August 30.
   A Pecha Kucha event at the Wellington City Gallery, focusing on the culture of movement (covering dance, music, visual art and performance) takes place on August 27. The Tarrant Dance Studios at 125 Cuba Street, Wellington welcomes visitors on August 29 to an open house, while the August 29 performance of 30Forward will be followed by a function.
   The Christchurch dates are August 31–September 1; Auckland on October 15 and 17; Gisborne on October 21; Carterton on October 24; and Tauranga on October 30.
   Tickets are on sale now—visit footnote.org.nz for ticketing information.


Above Rehearsing in 2012.

August 6, 2015

Sponsored video: Appleton Estate’s Jamaican tradition is assured

Lucire staff/15.07

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The Caribbean is most closely associated with rum when it comes to alcohol, and Appleton Estate is arguably the brand that rum lovers will think of when Jamaica comes up. Now part of Campari, Appleton Estate’s history goes back to the dawn of rum itself, to 1655 when the British captured the islands from the Spanish.
   This 4,614 ha estate is the oldest sugar estate and distillery in the country that has been in continuous production, and the brand readily plays on its Jamaican heritage, especially in its latest spot that connects the island’s culture and spirit with the rum itself.
   In the Nassau Valley, from where Jamaica’s fruits and vegetables predominantly come, Appleton Estate began creating rum in 1749, and now has a range of three core types: the Signature Blend Jamaica Rum, the Reserve Blend Jamaica Rum and the Extra 12 Year Old Jamaica Rum. Two limited-edition luxury rums form the remainder of the range: the 21 Year Old Jamaica Rum and 50 Year Old Jamaica Rum—Jamaica Independence Reserve.
   They are known for their bold aromas and fruity notes, with the Reserve having an added complexity. The Independence Reserve, launched in 2012 to celebrate the 50th anniversary of the country’s independence, saw 800 bottles released worldwide, with an even more complex bouquet and intensity.
   The process is environmentally friendly today, with an emission-free boiler, a process to turn the filter press mud into fertilizer, and an extensive recycling programme in the Nassau Valley. Under the eye of Joy Spence, the first woman to hold the position of Master Blender in the spirits’ industry, Appleton Estate continues its Jamaican tradition, one which its current owner is keen to uphold, as can be seen in its latest spot.



Post sponsored by Appleton Estate

Filed under: environment, history, living, TV
June 5, 2015

Aston Martin Works’ customer track day sees One-77, V12 Zagato, DBRS9 at Silverstone

Lucire staff/23.26

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On June 3, Aston Martin Works hosted a customer track day at the Silverstone race track, featuring rare, exotic models (even by Aston Martin standards) such as the One-77, V12 Zagato and DBRS9.
   Aston Martin Works is celebrating its 60th year in 2015, and this anniversary event, where some customers brought their own cars, allowed fans to unleash their cars.
   Other models at the event included V8 and V12 Vantages, DB9s, one Virage, and a V12 Vanquish. More than 20 cars were present, with drivers coached by Aston Martin Performance driving instructors.
   Aston Martin Works’ commercial director Paul Spires said, ‘It’s great to see so many of our sports cars being driven so skilfully by such an enthusiastic group of owners.
   ‘When we proposed this idea at the beginning of the year we weren’t sure how many people would want to bring along their cars, but the response today has been superb.’



Filed under: history, living, Lucire
May 27, 2015

Reasons to raise a glass as Stoneleigh, Mumm, Hennessy and Ardbeg celebrate around the world

Lucire staff/12.49

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Victor Boyko/Getty Images

Top Mark Ronson celebrates with Champagne Mumm in Monaco. Above Julie Nollet, Raphaël Gérard, Hervé Mikaeloff, Olga Kisseleva, Bernard Peillon, Laurent Pernot, and François Xavier Desplancke pose at the ribbon-cutting ceremony during the Hennessy 250 Tour at the New Manege in Moskva. Below left The award-winning Stoneleigh Latitude Marlborough Sauvignon Blanc 2014.

Several wine and spirits brands have reasons to celebrate today. New Zealand’s Stoneleigh has received a gold medal at the 2015 Decanter World Wine Awards for its Latitude Marlborough Sauvignon Blanc 2014. This honour, from the world’s largest and most influential wine show (competing against over 10,000 wines), joins others than Stoneleigh has received lately, with the same vintage winning gold at the New Zealand International Wine Show and Easter Show Wine Awards, and a trophy at the Marlborough Wine Show.
   Maison Mumm, meanwhile, celebrated the launch of the world’s first digitally connected champagne bottle. And since Mark Ronson was in town, why not get him on board another yacht to DJ the event?
   When the cork is popped at the Formula One podium, a sensor sends a signal to the venue’s AV system, triggering the programmed entertainment. VIP guests at the event included Cara Delevingne, Poppy Delevingne, Eddie Jordan, and club owner Jean-Roch. Singtank, the duo of Ronson’s wife Josephine de la Baume and her brother Alexandre de la Baume, also performed.
   Ronson was asked to present the winning Mumm jeroboam to Nico Rosberg on the 2015 Monaco Grand Prix podium.
   The Hennessy 250 Tour has arrived at the New Manege in Moskva. This travelling art and culture exhibition, curated by Hervé Mikaeloff, in collaboration with scenographer Nathalie Crinière and Hennessy heritage expert Raphaël Gérard, celebrates Hennessy’s history and future, with archival materials, portraits and films. Artworks and installations by Xavier Veilhan, Pierrick Sorin, Constance Guisset, Tony Oursler, Charles Sandison and Anton Corbijn feature, while the Russian stop additionally sees Olga Kisseleva’s work, Dancing Spirit, and a contemporary dance performance by Farfor. The tour is open till May 30.
   VIPs at the launch include Maurice Richard Hennessy, Corbijn and Kisseleva, Gérard, Hennessy CEO Bernard Peillon, François Xavier Desplancke, Laurent Pernot, seventh-generation master blender Yann Fillioux, Interview Russia editor Aliona Doletskaya, and Tatler Russia editor-in-chief Ksenia Solovieva, Olga Karput, Sofia Zaika, Olga Thompson, Miranda Mirianashvili, and Museum of Contemporary Art director Vasili Tsereteli and his wife Kira Sacarello. The gala dinner was followed by a performance from stars from the Bolshoi Theatre and a tasting of the Hennessy 250 Collector Blend.
   Ardbeg celebrates its 200th anniversary this year, and marks the occasion with a grand Ardbeg Day on May 30, when Ardbeg “embassies” around the world hold a series of events. This year’s limited-edition Ardbeg Perpetuum will be present, and New Zealand, which will be the first to hit May 30, will hold its Ardbeg Day celebrations at House of Whiskey, 50 Courthouse Lane, Auckland; Regional Wines & Spirits, 15 Ellice Street, Mt Victoria, Wellington; and Whisky Galore, 66 Victoria Street, Christchurch.


















Victor Boyko/Getty Images

May 24, 2015

Cara Delevingne, Fernando Alonso, Poppy Delevingne, Mark Ronson on board TAG Heuer’s Monaco Grand Prix party

Lucire staff/10.38

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David M. Benett

It’s all on over in Monaco, as the Monaco Grand Prix gears up. TAG Heuer, a major sponsor whose logo has been seen for decades at the event, hosted an on-board party on Saturday, with brand ambassadors Cara Delevingne and Fernando Alonso.
   TAG Heuer, an official partner of the Automobile Club of Monaco, which originated the Grand Prix in the principality, hosted its party on board the SeaDream, moored in the harbour. Jean-Claude Biver, LVMH’s watch division boss and TAG Heuer’s CEO, held court, with Delevingne, Alonso, and the McLaren–Honda team, with which the watch brand has partnered for 30 years.
   Other guests at the event were Poppy Delevingne, James Cook, Ron Dennis, and Natalie Pinkham.
   TAG Heuer is promoting its McLaren Formula 1 watch to commemorate its three-decade-long partnership with the racing team; the Ayrton Senna Chrono special edition with the Legend steel bracelet, named for the late racing driver; the Cara Delevingne special edition; the Carrera Heuer-01 manufacture chronograph; and the Aquaracer 300M.
   TAG Heuer was the first watch-making brand to sponsor a professional driver, Jo Siffert, and it was worn by Steve McQueen on the poster of his film, Le Mans. Niki Lauda, Jody Scheckter, Alain Prost, Ayrton Senna, Mika Häkkinen, David Coulthard, Kimi Räikkönen, Fernando Alonso and Lewis Hamilton have all worn TAG Heuer over the years and have taken the chequered flag at the Monaco Grand Prix. Its current campaign sees the hashtag #Dontcrackunderpressure, as part of its internal and external branding efforts.




















David M. Benett

May 22, 2015

Superb and deeply meaningful: the Royal New Zealand Ballet’s Salute: Remembering WW1 impresses

Jack Yan/12.27

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Ross Brown

Above Dancer Joseph Skelton in the core image used for Salute: Remembering WW1.

Three years in the planning, the Royal New Zealand Ballet’s Salute: Remembering WW1 commemorated the Great War in a memorable, respectful, and meaningful way, with a mixed programme that saw two world premières tonight.
   Gareth Farr’s specially commissioned score for Andrew Simmons’ Dear Horizon opened proceedings, with what could be described as a cinematic theme with a strong melodic base as the action unfolded on stage. Tracy Grant Lord’s backdrop, of barbed wire barriers used in World War I, loomed over dancers lying on the stage, as a lone ballerino walked among them. Lighting came on gradually, Jason Morphett’s design using shadows and darkness to build tension. This sombre start gave way to a beautiful, haunting and contemporary choreography, with an underlying bleakness, as Simmons highlighted the loss suffered in war. Costumes were grey, further emphasizing the sense of despair and focusing us on the dancers’ movements. The solo cello by Rolf Gjelsten gave a sense of minimalism that contrasted other elements of the brassy, powerful Farr score. While composed for the ballet, and only complete with the action, it’s not hard to imagine the work released on its own for lovers of ballet and cinematic scores.
   An all-male cast of twelve followed in Soldiers’ Mass. The genius behind Jiří Kylián’s choreography was how it conveyed emotion: a highly energetic and graceful ballet where the dancers move in a unified way, into battle constantly, pulling each other from the front and yet, still confronting, then falling to, the enemy. The score, by Bohuslav Martinů, set to the text by Jiří Mucha, was played back, and one scene sees the men lip-synching proudly to the Czech lyrics, yet with a sense of what they knew would follow. The ballet finishes as it started, with 12 backs to us, each dancer dropping his shirt in another representation of death as well as the annexation of the Sudentenland by Hitler in World War II. Shirtless ballerinos, incidentally, seemed to elicit greater applause from the audience as they took their bows. This restaging was by Roslyn Anderson, who had helmed the 1998 RNZB production of Soldiers’ Mass, with lighting design by Kees Tjebbes.
   After the interval, Johan Kobborg’s Salute injected comedic moments into a classical ballet, set to the score by nineteenth-century composer Hans Christian Lumbye. It saw the return of live music after the recording in Soldiers’ Mass, performed by the New Zealand Army Band. These skilful musicians adapted themselves easily to the lighter atmosphere, with Sgts Riwai Hina and David Fiu, and Pvts Joseph Thomas and Tom Baker rearranging Lumbye’s music to the Band. Natalia Stewart’s costumes (jackets with epaulettes for the men, red peplums and plenty of tulle for the women) shone on stage in a very cheerful ballet involving different sets of dancers, highlighting different aspects of love, from shyness and confusion to overconfidence and partnership; as well as the inevitable farewells as men went off to war.
   The battle vignette, with the General leading the charge, was equally enjoyable, interspersed with the long waits the women endured back home, before the conclusion as the soldiers returned home. Created for the University of North Carolina School of the Arts in 2010, Kobborg intended it to be a reflection of what happens when young people come together; the RNZB dancers showed their expressiveness in a ballet that injected a light-heartedness to the evening. Salute was staged by Florica Stanescu, with Morphett again behind the lighting design, with a brightness and cheer in contrast to his earlier work.
   While the RNZB often picks the cheery production number to end on, it chose Neil Ieremia’s Passchendaele, a world première, which gave this reviewer initial fears that the infamous battle would leave audiences on a down note. The fear was unfounded, because of the scale of Ieremia’s ballet, involving 19 dancers, and the superb execution in dance of this tragic battle, notable for being the day on which more New Zealanders had died or had been wounded than on any other day. Dwayne Bloomfield, formerly of the New Zealand Army Band, composed the score, which the band performed: the moments of martial music signalled the flawed advance by the New Zealand Division under Gen Haig. The dancers moved with great pace at times, in groups, on- and off-stage, representing the power of the soldiers and artillery, through impossible conditions. At other moments they recalled memories of home, contrasting with the loss that families suffered. Geoff Tune’s backdrops, in red and black, signified the blood on the battlefields, and his first one hinted at skulls, shifting gradually to other scenes of burned trees and desolation. The end of Passchendaele was chilling, after the soldiers each fell, their loved ones releasing them, as knocks were heard around the St James, representing the messenger bringing home to 845 New Zealand families the worst news they could receive.
   Ieremia was ingenious in how his choreography brought so much emotion and energy to the performance that the house was left in admiration. The message was indeed cautionary, telling us about the human tragedies of war, but the RNZB and the NZAB brought it to life with such conviction that Passchendaele received the greatest applause of the evening. It was a high note after all, but one that was more absorbing. Salute: Remembering WW1 is a superb programme, and a fresh way of appreciating the messages in the ongoing centenary commemorations of New Zealanders fighting ‘the war to end all wars.’—Jack Yan, Publisher

Salute has been supported by the Lottery Grants Board, New Zealand Defence Force, Qantas, the Göthe-Institut, the Ministry for Culture and Heritage, national sponsor Vodafone, and Pub Charity. Dates are May 22–4 in Wellington; May 28–30 in Christchurch; June 3 in Dunedin; June 10 in Hamilton; June 13 in Takapuna; June 17–20 in Auckland; and June 24–5 in Napier. The Royal Ballet will feature the UK première of Passchendaele in November. Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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