We’re back to the Hong Kong shelf today, for the first time in a while. Hollywood-centric Hong Kong produced a large number of movie magazines during the mid-century. The cover of this one from 1955 is beautiful of course, because of Marilyn Monroe, but the inside is nothing great. Along with Monroe (in the same shot as on the cover) you get Silvana Mangano, Anna Magnani, Lili St. Cyr and others, but like many HK mags from the 1950s, it was printed on cheap paper via a substandard process. A few scans below give you the idea. 

Some well known photographers have contributed to the Goodtime Weekly Calendar, but the above image is by a true icon—Bruno Bernard, aka Bernard of Hollywood. The German-born Bernard possessed a doctorate in criminal psychology and had no formal photographic training, but after leaving Germany in 1937 was operating his own portrait studio within a year. His second studio was on Sunset Boulevard, and that’s where he worked for 25 years, along the way creating such iconic images as Marilyn Monroe’s Niagara and River of No Return promos, Lili St. Cyr’s Indian headdress and transparent bathtub shots, and portraits of virtually every star in mid-century Hollywood. The Goodtime Calendar has several other Bernard contributions, and you’ll see those as the year continues.

This mugshot of Lili St. Cyr appears on literally hundreds of sites around the internet, but we’re posting it anyway so we can correct some misinformation. Every source we saw—all of them—refer to this as St. Cyr’s September 1951 booking photo, but it’s actually from today in 1947, a fact that should be abundantly clear from the date under her chin: 12/17/47. The arrest, which was for lewd behavior, occurred in Los Angeles, and when St. Cyr appeared in court several months later she lost her case and was fined fifty dollars—a slap on the wrist. Things didn’t go so leniently for the owner of the Follies Theater, where St. Cyr had performed. He was sentenced to thirty-nine days in jail. See plenty more St. Cyr by clicking her keywords below.

No, it doesn’t look like that to us either. Don’t get us wrong. It isn’t bad. But top sixty? Ever? Yet we found it on a site that included it in its top sixty, along with a collection of other covers of which we can honestly say only three were excellent. There was not one Fixler or Aslan to be found. Nary a J. David, nor a Peff, nor even a hint of a Rader. Clearly, whoever put the feature together took sixty random images off Flickr (yet watermarked the art they borrowed) and called it a day.

This highlights one of the main problems with the internet: it’s difficult to know which sites are primarily focused upon providing information, and which exist solely to generate traffic revenue. A site can do both (as we try to do here with our very minimal ad presence), but when some corporate pulp site that possesses endless resources somehow misidentifies the pulp era as lasting from the 1950s to 1970s, and asserts that the term “pulp” was popularized by the movie Pulp Fiction, it’s clear that information has not only taken a back seat to traffic revenue—it’s being dragged 100 feet behind the car on a rope.

We would never presume to do something as subjective as select the best covers of all time, because who the hell are we? But we have, we hope, earned some credibility over the last three years. So on this, our official third anniversary, we're going to do a pulp cover collection of our own. We don't claim these are the best—only that we like them very much. We’re posting twenty-four because we’re too lazy to do sixty, but we think all of them are winners. A few have already appeared on our site; most have not. So here we go. And thanks to the sites from which we borrowed some of these.  

Above, the covers, centerfold, and two other interior pages of Paris-Hollywood #119, published 1951. The covers consist of two photographs from the series “La vallée de la soif” by Jacques Le Chevallier. The centerfold déshabillable—i.e. it undresses—is by Carols, who was actually Raymond Brenot under a pseudonym. And the two other pages feature burlesque goddess Lili St. Cyr. There's so much more in the magazine worth seeing, but today we're only covering the most important stuff. See another Carols here, and three more undressing centerfolds by Roger Brard here, here, and here. 

We found this issue of the magazine Paris Frou Frou with cover star Lili St. Cyr, always lovely but wearing a crown this time, which is a fitting accessory for one of the queens of burlesque. The issue was incomplete, but below are a few interior pages, including one with the semi-famous 1950s dancer who billed herself as Miss Kalantan, as well as shots of Kirk Douglas and Elsa Martinelli. Also mixed in were some clippings from a second issue of Paris Frou Frou, and we’ve added those pages too. All the images date from the mid-1950s.

These are pretty cool. You're seeing the front and rear cover of He magazine, yet another American men’s publication from the 1950s. It has Lili St. Cyr on the front and Lilly Christine on the reverse. They were arguably the two most famous performers in the field of burlesque at that time. The art of burlesque has died, save for a precious few revues here and there, but you can see more Lili here and here, and more Lilly here and here. And if you missed it, our comprehensive photo post on burlesque—the first of several we'll be doing, by the way—is here. 

Tabloid month continues with the New York City-based Exposed, one of the middle tier entrants onto the scandal sheet scene. The magazine came on the scene a bit later than the heavyweights, at a time when the tabloid market was already packed with better-produced, better-funded rivals. Little wonder then, that Exposed folded quickly—we’ve seen issues numbering up to 18 but no further. Inside this March 1956 issue, numbered 4, we have the usual victims—Brando, Lili St. Cyr, and Ali Khan. The clever lawyer mentioned here in connection with St. Cyr is Jerry Giesler. You see St. Cyr and Giesler hugging below, just after St. Cyr’s acquittal in Los Angeles from charges of indecent exposure at the nightclub Ciro’s. We talked about the trial a couple of years ago, but since then, the website Paradise Released has posted a more detailed version of that unusual day in court. We recommend giving it a read. And if you just can’t get enough, there’s another recent account at Pincurlmag, here, with some additional details. We’ll have more from Exposed, including some interior pages, a little later. 

Above, a promo photo of American burlesque dancer Lili St. Cyr, circa 1955. St. Cyr, who was born Willis Marie Van Schaack and during her fame was known as the Anatomic Bomb, died today in 1999. You can read all about her at our comprehensive post from last year. 

Nobody really knows where the word burlesque came from—some claim its roots are the Italian and Spanish words “burla," which mean “hoax” and “deception” respectively. We’ve also seen burla translated as “jest.” Whatever its etymological roots, the much loved art of burlesque began in Victorian England as a type of musical variety show that satirized highbrow art forms such as opera, ballet, and costumed drama. On U.S. soil burlesque took similar shape, but also began to incorporate semi-clad dancers. Soon, these sexually suggestive dances became the focus of the performances, and the word burlesque became a synonym for striptease.

Stars such as Sally Rand, Amy Fong and Dixie Evans became celebrity practitioners of the art. The dancers generally didn’t strip totally nude on stage, but a few, like Bettie Page, did take it all off in short burlesque reels. Above, in panel 1, is a shot of Betty Blue Eyes Howard, and below we have more assorted burlesque photos featuring some of the biggest stars of yesteryear’s striptease firmament. Of special note are Busty Brown in panel 2, Betty Rowland in panel 12, and being escorted into court to face obscenity charges in panel 13, Bettie Page from one of her reels in panel 20, Lilly Christine in panel 21, Lili St. Cyr in panel 22, two shots from one of Nazi Germany’s legendarily decadent mid-1930s burlesque shows in panels 23 and 24, and finally Tempest Storm in the last panel. We hope these images take the edge off those Monday blahs.