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Sneakerheads: A Brief History of Sneaker Collecting

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For many of us, buying a pair of sneakers is a chore. But for a sneaker collector, there's no greater joy than a fresh pair of kicks. Here's a look at this growing subculture, whose members are proud to call themselves “sneakerheads.”

From B-Boys to Sneakerheads

Sneaker collecting got its start in the late 1970s as part of the burgeoning b-boy and hip-hop movement of New York City. Unique clothes were a hallmark of early hip-hop, and sneakers were easily customized, either by color coordinating laces to an outfit or by filling in the triple stripes on a pair of Adidas with a magic marker. Once a b-boy found a shoe he liked, it wasn’t unusual for him to buy more than one pair so he could have them on hand when the old ones wore out.

1985 Air Jordans

The sneaker craze hit mainstream America when Nike and Michael Jordan introduced Air Jordans in 1985.

Even at a retail price back then of $125, stores couldn’t keep the shoes on the shelf, and Jordans quickly became a sought-after status symbol. In a shrewd marketing move, Nike continued to produce a new style of Jordans every year. The shoes proved so popular that, by the early 1990s, some estimates say that 1 in every 12 Americans had a pair of Air Jordans.

However, the popularity of Jordans created a backlash among sneaker fans who, like their b-boy forefathers, always wanted their kicks to stand out. These sneakerheads began digging through the back rooms of mom and pop shoe shops to find out-of-production styles, often “copping” them for a fraction of their original price. Of course these vintage shoes were in short supply, so sneakerheads sometimes traveled hundreds of miles, and then bought more than one pair, keeping some “on ice” so they'd always have a fresh supply for years to come. Today, it's not unusual for a committed sneakerhead to have 50 or more pairs of shoes, most of which are “deadstock," meaning they've never been worn (and probably never will be).

From the Street to the Boutique

When shoe companies discovered the lengths sneakerheads would go to for a pair of unique kicks, they started producing limited edition “colorways," a term used to describe the different color schemes and types of materials available across a shoe line. Today, just about every major shoe maker offers limited edition colorways, but Nike has really embraced the concept with lines like the Dunk and the Air Force 1 that are produced almost exclusively as limited editions.


Colorways

Normally, these special colorways are produced in very limited runs—often fewer than 500 pairs worldwide—and are only available at handpicked stores and specialty boutiques where they sell for well over Nike's suggested retail price. But if you miss your chance to buy an exclusive colorway, the secondary market is thriving on eBay and at sneaker consignment shops like Sole Control in Philadelphia, and Flight Club in L.A. and New York. If you have to go this route, be prepared to pay two or three times the already-inflated boutique price.

On top of exclusive retail colorways, there are even rarer collectible shoes that make sneakerheads go crazy. One type are “Friends and Family” editions, colorways created for a celebrity or a company, who give them away as gifts or promotional items. These designs are usually limited to less than 100 pairs, so they fetch top dollar on the collector's market. There are also “Samples," prototype colorways that were never put into production, making these extremely rare; maybe even elevated to “1 of 1” status. Perhaps the most unusual are “Player’s Edition” colorways made for a high-profile celebrity's personal collection. The exclusivity and the provenance of these kicks make them true Holy Grail designs.

10 Kicks to Cop

There are far too many collectible colorways to list, but here are 10 styles that fetch top dollar on eBay and at sneaker consignment shops.

1. Nike Dunk Low “Black & Tans”

Nike Black & Tans were created this year as a toast to the popular drink of the same name, and then released just in time for everyone's favorite drinking holiday, St. Patrick's Day. However, Nike didn't know that “Black and Tan” is a name that leaves a bad taste in the mouths of many on the Emerald Isle. The Black and Tans were a group of World War I veterans assigned by the British government in 1920 to root out IRA members in Ireland. Unfortunately, they used their power to commit indiscriminate acts of violence against non-IRA affiliated citizens, without any legal ramifications. Nike has since apologized for the misstep, but a little controversy can go a long way with collectors.

2. Nike Dunk Low “Heineken”

The Heinekens dropped in 2003, featuring color cues taken from the logo for Heineken Beer (even the brand’s signature red star). The beer company never agreed to this collaboration, though, and has since asked eBay to pull any auctions that use their name to describe the shoes. Of course that only makes them harder for sneakerheads to find, which increases their value considerably.

3. Nike Dunk Low “Freddy”

In 2007, Nike took inspiration from a most unusual place: Freddy Krueger, the star of the popular horror film franchise A Nightmare on Elm Street. Sporting stripes like Freddy’s sweater, a shiny swoosh like his knife-laden glove, blood-splatter highlights, and melted flesh insoles, these shoes are not for the collector who is faint of heart (or fashion).

4. Nike Air Yeezy

The first time a non-athlete got a shoe contract was the $1.6 million deal between Adidas and Run-D.M.C. in 1986. There have been others since, but the first for Nike, with Kanye West, has proven to be a big hit. Kanye's Air Yeezys were released in 2009 in three colorways, at a retail price of $225. Depending on where you look, the first and third colorways go for about $1700, but the second one—black and neon pink—can reach upwards of $2300.

5. Nike Dunk Low “Paris”

The Dunk Paris was released in 2004 as part of Nike’s "White Dunk: Evolution of an Icon" art installation in Paris, France. Exactly 202 pairs were made, all featuring different samples of artwork from painter Bernard Buffet.

6. Air Jordan Retro IV “Eminems”

Another Friends and Family release, 50 pairs of blue and black Air Jordans were made for rap artist Eminem in 2004 to celebrate the release of his fourth album, Encore. Aside from the unusual colorway, the rapper’s name is stitched onto the inside of the tongue and the album title on the heel pull.

7. Nike Air MAG “The McFlys”

You probably remember the 1500 pairs of special Back to the Future shoes released last year. Sadly, they didn't have automatic laces, as the shoes in the movie did, but they did raise $5.7 million for the Michael J. Fox Foundation. British DJ Tinie Tempah paid $37,500 for the very first pair. If you missed your chance to own a piece of sneaker and Hollywood history, and you have some cash to burn, they're available on eBay and at consignment shops for about $3600.

8. Nike Dunk Hi FLOM (For Love Or Money)

Designed by graffiti artist Futura 2000, and limited to only 24 pairs, this Friends and Family colorway featuring different currencies from around the world is considered one of the Holy Grails of shoe collecting.

9. Air Jordan Retro XI “Blackout Samples”

A buyer tried to sell a sample pair of all-black Air Jordan Retro XI’s on eBay for $15,000. This colorway never made it out of the prototype phase, so it’s hard telling how many exist; these could be a rare “1 of 1” shoe.

10. The eBay Charity Dunks

Nike and eBay held a charity auction in 2003 for a pair of shoes based on the eBay logo. The anonymous winning bidder paid $30,000 for a pair that was made-to-fit. To ensure no other eBay Dunks were ever produced, Nike publicly cut up the prototype pair used for the auction, and sent the pieces to the winner for safekeeping.

Sneaker Riots

Whether it's sneakerheads looking for limited edition kicks or just “hypebeasts” chasing the latest fashion trend, there have been times when the demand for popular shoes has gotten ugly. Here are three such shoes.

1. Nike Dunk Low Pigeons

In 2005, Nike introduced the Dunk Low “Pigeons," a colorway limited to 150 pairs and available only at five boutiques in New York City. Although Nike’s suggested price of $69 was inflated to $300, over 100 people eager to score a pair showed up at the boutique, Reed Space, on the morning of release. Unfortunately, the shop only had 20 pairs, so most people went home sans sneakers—and they weren’t happy about it. Although it was tense, the NYPD was able to disperse the crowd before things got out of hand. That night, the shoes were going for $750 on eBay, but today you’ll be lucky to find a pair for less than $2000. Unfortunately, this first “sneaker riot” was not the last.

2. Air Jordan Retro XI

Just after midnight on December 23, 2011, hundreds of people gathered outside shopping malls in order to be one of the first to drop $180 on the Air Jordan Retro XI, a re-release of the 1996 design, now available in two colorways, the “Concord” and the “Cool Grey." Before the night was over, many crowds had gotten out of control. Indianapolis police were called to three different malls, 20 Atlanta police cars responded to a mall in the suburbs, Seattle cops deployed pepper spray, and a man was stabbed in Jersey City, just to name a few of the many incidents reported across the country. For those who wanted the shoes, it was a small price to pay. But for those who didn't get a pair, the price on eBay the next day was $500, which is what they're still valued at today many months later.

3. Nike Air Foamposite One

A similar scene occurred just before the NBA All-Star Game in February, with the release of the $220 glow-in-the-dark Nike Air Foamposite One. Smaller instances occurred in other markets, but Orlando required more than 100 officers in full riot gear, a handful of police dogs, and two choppers to control an anxious crowd of hundreds of shoe shoppers. To prevent a repeat of the Jordan riots, Nike had to cancel the release at that time. In the meantime, the few Galaxies that were purchased in other parts of the country are going for anywhere between $1800 and $2300 online.

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20 Facts About Your Favorite Coen Brothers’ Movies
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Gramercy Pictures

Ethan Coen turns 60 years old today, if you can believe it. Since bursting onto the scene in 1984 with the cult classic Blood Simple, the younger half of (arguably) the most dynamic moviemaking sibling duo in Hollywood has helped create some of the most memorable and quirky films in cinematic history, from Raising Arizona to Fargo and The Big Lebowski to No Country For Old Men. To celebrate the monumental birthday of one of the great writer-directors of our time (though he’s mostly uncredited as a director), here are some facts about your favorite Coen brothers’s movies.

1. THE COENS THINK BLOOD SIMPLE IS “PRETTY DAMN BAD.”

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

2. KEVIN COSTNER AND RICHARD JENKINS AUDITIONED FOR RAISING ARIZONA.

Kevin Costner auditioned three times to play H.I., only to see Nicolas Cage snag the role. Richard Jenkins had his first of many auditions for the Coens for Raising Arizona. He also (unsuccessfully) auditioned for Miller's Crossing (1990) and Fargo (1996) before calling it quits with the Coens. In 2001, Joel and Ethan cast Jenkins in The Man Who Wasn't There, even though he had never auditioned for it.

3. THE BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.

After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

4. BARTON FINK AND W.P. MAYHEW WERE LOOSELY BASED ON CLIFFORD ODETS AND WILLIAM FAULKNER.

The Coens acknowledge that Fink and Odets had similar backgrounds, but they had different personalities: Odets was extroverted, for one thing. Turturro, not his directors, read Odets’ 1940 journal. The Coens acknowledged that John Mahoney (Mayhew) looks a lot like the The Sound and the Fury author.

5. THE COENS'S WEB OF DECEPTION IN FARGO GOES EVEN FURTHER THAN THE OPENING CREDITS. 

While the tag on the beginning of the movie reads “This is a true story. The events depicted in this film took place in Minnesota in 1987,” Fargo is, by no stretch of the imagination, a true story. During the film's press tour, the Coens admitted that while not pinpoint accurate, the story was indeed inspired by a similar crime that occurred in Minnesota, with Joel stating “In its general structure, the film is based on a real event, but the details of the story and the characters are fictional.”

However, any and all efforts to uncover anything resembling such a crime ever occurring in Minnesota come up empty, and in an introduction to the published script, Ethan pretty much admitted as much, writing that Fargo “aims to be both homey and exotic, and pretends to be true." 

6. THEY WANTED MARLON BRANDO TO PLAY JEFFREY LEBOWSKI.

According to Alex Belth, who wrote the e-book The Dudes Abide on his time spent working as an assistant to the Coens, casting the role of Jeffrey Lebowski was one of the last decisions made before filming. Names tossed around for the role included Robert Duvall (who passed because he wasn’t fond of the script), Anthony Hopkins (who passed since he had no interest in playing an American), and Gene Hackman (who was taking a break at the time). A second “wish list” included an oddball “who’s who," including Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine.

The Coens’ ultimate Big Lebowski, however, was the enigmatic Marlon Brando, who by that time was reaching the end of his career (and life). Apparently, the Coens amused themselves by quoting some of their favorite Jeffrey Lebowski lines (“Strong men also cry”) in a Brando accent. The role would eventually go to the not-particularly-famous—albeit pitch-perfect—veteran character actor David Huddleston. In true Dude fashion, it all worked out in the end.

7. JOEL COEN WOOED FRANCES MCDORMAND ON THE SET OF BLOOD SIMPLE.

Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

8. O BROTHER, WHERE ART THOU? WAS ORIGINALLY INSPIRED BY THE WIZARD OF OZ.

Joel Coen revealed as much at the 15th anniversary reunion. “It started as a 'three saps on the run' kind of movie, and then at a certain point we looked at each other and said, 'You know, they're trying to get home—let's just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: 'There's No Place Like Home.’”

9. THE ACTORS IN FARGO WENT THROUGH EXTENSIVE TRAINING TO GET THEIR ACCENTS RIGHT.

Having grown up in Minnesota, the Coens were more than familiar with the idiosyncrasies of the “Minnesota nice” accent, but much of the cast—including Frances McDormand and William H. Macy—needed coaching to get the intricacies right. Actors were even given copies of the scripts with extensive pronunciation notes. According to dialect coach Larissa Kokernot, who also appeared as one of the prostitutes Gaear and Carl rendezvous with in Brainerd, the “musicality” of the Minnesota nice accent comes from a place of “wanting people to agree with each other and get along.” This homey sensibility, contrasted with the ugly crimes committed throughout the movie, is, of course, one of the major reasons why the dark comedy is such an enduring classic.

10. NICOLAS CAGE'S HAIR REACTED TO H.I.'S STRESS LEVEL IN RAISING ARIZONA.

Ethan claimed that Cage was "crazy about his Woody Woodpecker haircut. The more difficulties his character got in, the bigger the wave in his hair got. There was a strange connection between the character and his hair."

11. A PROP FROM THE HUDSUCKER PROXY INSPIRED THE MAN WHO WASN’T THERE.

A bit of set dressing from 1994’s The Hudsucker Proxy eventually led to 2001’s The Man Who Wasn’t There. In a barbershop scene, there’s a poster hanging in the background that featured a range of men’s hairstyles from the 1940s. The brothers liked the prop and kept it, and it’s what eventually served as the inspiration for The Man Who Wasn’t There.

12. GEORGE CLOONEY SIGNED ON TO O BROTHER, WHERE ART THOU? BEFORE EVEN READING THE SCRIPT.

The brothers visited George Clooney in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”

13. A SNAG IN THE MILLER’S CROSSING SCRIPT ULTIMATELY LED TO BARTON FINK.

Miller’s Crossing is a complicated beast, full of characters double-crossing each other and scheming for mob supremacy. In fact, it’s so complicated that at one point during the writing process the Coens had to take a break. It turned out to be a productive one: While Miller’s Crossing was on pause, the brothers wrote the screenplay for Barton Fink, the story of a writer who can’t finish a script.

14. INTOLERABLE CRUELTY IS THE FIRST COEN MOVIE THAT WASN’T THE BROTHERS’ ORIGINAL IDEA.

In 1995, the Coens rewrote a script originally penned by other screenwriters, Robert Ramsey, Matthew Stone, and John Romano. They didn’t decide to direct the movie, which became Intolerable Cruelty, until 2003.

15. THE LADYKILLERS WAS WRITTEN FOR BARRY SONNENFELD TO DIRECT.

The Coens effortlessly jump from crime thriller to comedy without missing a beat. So when they were commissioned to write a remake of the British black comedy The Ladykillers for director Barry Sonnenfeld, it seemed to fall in line with their cinematic sensibilities. When Sonnenfeld dropped out of the project, the Coens were hired to direct the film.

16. BURN AFTER READING MARKED THE FIRST TIME SINCE MILLER’S CROSSING THAT THE COENS DIDN’T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.

Instead, eventual Academy Award-winner Emmanuel Lubezki acted as the director of photography. The Coens would work with Deakins again on every one of their films until 2013’s Inside Llewyn Davis.

17. IT TOOK SOME CONVINCING TO GET JAVIER BARDEM TO SAY “YES” TO NO COUNTRY FOR OLD MEN

Though it’s hard to imagine No Country for Old Men without Javier Bardem’s menacing—and Oscar-winning—performance as antagonist Anton Chigurh, he almost passed on the role. “It’s not something I especially like, killing people—even in movies,” Bardem said of his disdain for violence. “When the Coens called, I said, ‘Listen, I’m the wrong actor. I don’t drive, I speak bad English, and I hate violence.’ They laughed and said, ‘Maybe that’s why we called you.”’

18. PATTON OSWALT AUDITIONED FOR A SERIOUS MAN.

Patton Oswalt auditioned for the role of the obnoxious Arthur Gopnik in A Serious Man, a part that ultimately went to Richard Kind. Oswalt talked about his audition while appearing on Marc Maron’s WTF podcast, in which it was also revealed that Maron was being considered for the lead role of Larry Gopnik (the role that earned Michael Stuhlbarg his first, and so far only, Golden Globe nomination). 

19. THE CAT IN INSIDE LLEWYN DAVIS WAS “A NIGHTMARE.”

Ulysses, the orange cat who practically stole Inside Llewyn Davis away from Oscar Isaac, was reportedly a bit of a diva. "The cat was a nightmare,” Ethan Coen said on the DVD commentary. “The trainer warned us and she was right. She said, uh, "Dogs like to please you. The cat only likes to please itself.’ A cat basically is impossible to train. We have a lot of footage of cats doing things we don't want them to do, if anyone's interested; I don't know if there's a market for that."

20. THE COEN BROTHERS PROBABLY DON’T LOVE THE BIG LEBOWSKI AS MUCH AS YOU DO. 

We’re assuming the Coen Brothers are plenty fond of The Dude: after all, he doesn’t end up facing imminent death or tragedy, which is more than most of their protagonists have going for them. But in a rare Coen Brothers interview in 2009, Joel Coen flatly stated, “That movie has more of an enduring fascination for other people than it does for us.”

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Art
‘American Gothic’ Became Famous Because Many People Saw It as a Joke
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Wikimedia Commons // Public Domain

In 1930, Iowan artist Grant Wood painted a simple portrait of a farmer and his wife (really his dentist and sister) standing solemnly in front of an all-American farmhouse. American Gothic has since inspired endless parodies and is regarded as one of the country’s most iconic works of art. But when it first came out, few people would have guessed it would become the classic it is today. Vox explains the painting’s unexpected path to fame in the latest installment of the new video series Overrated.

According to host Phil Edwards, American Gothic made a muted splash when it first hit the art scene. The work was awarded a third-place bronze medal in a contest at the Chicago Art Institute. When Wood sold the painting to the museum later on, he received just $300 for it. But the piece’s momentum didn’t stop there. It turned out that American Gothic’s debut at a time when urban and rural ideals were clashing helped it become the defining image of the era. The painting had something for everyone: Metropolitans like Gertrude Stein saw it as a satire of simple farm life in Middle America. Actual farmers and their families, on the other hand, welcomed it as celebration of their lifestyle and work ethic at a time when the Great Depression made it hard to take pride in anything.

Wood didn’t do much to clear up the work’s true meaning. He stated, "There is satire in it, but only as there is satire in any realistic statement. These are types of people I have known all my life. I tried to characterize them truthfully—to make them more like themselves than they were in actual life."

Rather than suffering from its ambiguity, American Gothic has been immortalized by it. The country has changed a lot in the past century, but the painting’s dual roles as a straight masterpiece and a format for skewering American culture still endure today.

Get the full story from Vox below.

[h/t Vox]

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